【摘要】 本文拟运用后现代改编理论分析当代爱尔兰剧作家对古希腊悲剧的改编情况(1984—2015),考察其改编动机、手法及意义。改编是"带有变化的重复",不同于单纯的重复,原作与新作的缝隙和差异是最重要的,改编者的原创性也在于此。改编作品可以与源文本在许多方面有出入,但必须与源文本有持续的互文和对话。改编不仅仅是对原作的重访或致敬,更可能是对其的批判和重估。当代爱尔兰作家对古希腊悲剧的改编具有明显的政治意图,以改编来挑战和批判对原作的固定理解,表达政治观点。古希腊悲剧在当代爱尔兰的改编现象与其巨大的社会变迁密切相关。自1984年至2015年间,剧作家以改编古希腊悲剧来激发对当代政治、社会和文化的讨论,改编既是美学实践,也是政治行为,他们所改编的古希腊悲剧版本是一种杂糅的文本,处于混杂着不同声音和叙述的中间状态,让观众在重温源文本的同时,更深刻了解当代的政治和社会面貌。更多还原

【Abstract】 This paper examines the adaptations of Greek tragedies in contemporary Irish theatre(1984-2015) from the perspective of postmodern adaptation studies. Adaptation is "repetition with variation" in the sense that the adapted texts display both continuity and variations. The process of differentiation allows scope for the adaptor’s originality, and the adapted text can either pay tribute to, challenge, or even politically subvert the original through its intertextual engagement. Taking Irish adaptation of Greek tragedies as a case study, this paper discusses how Irish dramatists explore the contemporary landscapes of Ireland and of the world through their engagement with the adaptation of previously existing theatrical texts. As hybrid texts operating in a liminal state between the ancient and the modern, these adaptations are both aesthetic creations and political acts. By considering the similarities and differences between the original and adapted texts, the audience is encouraged to view the adaptation of 1000 year old Greek plays as a mode of accessing their own recent history, and their current domestic and international political contexts.更多还原