Special issues:

Literature and Linguistics (Vol. 1 No. 2); Literature and Violence (Vol. 3 Nos. 1-2)

Women, Consumption and Popular Culture (Vol. 4 No. 1); Life, Community, and Ethics (Vol. 4. No. 2)

The Making of Barbarians in Western Literature (Vol. 5 No. 1); Chaos and Fear in Contemporary British Literature (Vol. 5 No. 2)

Taiwan Cinema before Taiwan New Wave Cinema (Vol. 6 No. 1); Catastrophe and Cultural Imaginaries (Vol. 6 No. 2)

Affective Perspectives from East Asia (Vol. 9 No. 2); Longing and Belonging (Vol. 10 No. 2, produced in collaboration with the European Network for Comparative Literary Studies)

Transatlantic Literary and Cultural Relations, 1776 to the Present (Vol. 11 No. 2). 


Theatrical intercultural directors include Peter Brook, adapting the Indian epic The Mahabbarata into theatrical performance, by the borrowing of western performing techniques, and Eugenio Barba, rehearsing Ego Faust for Japanese and Indian dancers. Moreover, the Japanese director Tadashi Suzuki adopted gesture and voice from the traditional theatrical conventions to perform Shakespeare or Greek tragedy. The scope of interculturalism ranges from exchange of theatrical practices, reciprocal benefiting performing methods, mise en scene and adapting foreign materials like Shakespearean plays.

“Shakespeare Workshop,” held by Tainan Zen Theatrical Troupe, aimed at possibilities of intercultural performance—its multiculture including from British Renaissance playwright Shakespearean Othello, the reprinted Chinese translated version of Othello, rendered by Fang Ping, a Mainland Chinese, the director Jatinder Verma, a Binglish (an Indian-African English), to acting participants like yiju and Tainan Zen troupe members, who varied from Taiwanese, mainlander to aboriginal descents. Musical parts invited a stringed musician, expert at Taiwanese folk songs, and a drummer, joining this cross-cultural performance.

The first stage of workshop started with the discussion of script translation and practice. The director used an English script, guiding the Mandarin-speaking actors. This mode of team work brought the director further into the details of translated script such as words, between lines, and stage directions hidden in the text. The second part of theatrical intercultural exchange focused on the three most transferable and experimental areas: actor and performance, ‘other’ cultural training and body experiment. Lastly theatrical intercultural exchange needed the formal production, through the process of consciously selective transcoding among divergent cultures, only few of source cultural elements can emerge in the target culture.

Keywords: cross-cultural theatre, Jatinder Verma, Othello, source culture, target culture


「跨文化劇場」像是彼得.布魯克(Peter Brook)將印度史詩《摩可婆羅多》Mahabbarata 改編為戲劇,因其運用西方表演技巧;或者巴芭(Eugenio Barba)重新為日本人或印度舞者排演的《浮士德》;再者,日本導演鈴木(Tadashi Suzuki)以傳統戲劇表演程式中的姿勢與聲音,詮釋莎士比亞或希臘悲劇。「跨文化」的範疇像是劇場實踐的交換、互惠部分則包括表演方法、舞台景觀(mise en scene)、和改編外國素材如莎士比亞劇本。

台南人劇團的「莎士比亞工作坊」課程,嚐試各類跨文化『演出』的可能性,此課程的多文化(multiculture),從英國文藝復興時期的劇作家——莎士比亞的悲劇《奧賽羅》(Othello),在台灣重新出版印行中國大陸方平所翻譯的中文譯本,導演是英國請來的印裔英籍非洲肯亞出生的賈丁得.韋瑪(Jatinder Verma)。學員有國光豫劇隊的隊員、台南的演員——其中有台灣人、外省人、含原住民血統的學員;樂師部分有一台灣民謠彈唱的月琴師及一鼓手等多元跨領域『演出』。

「工作坊」第一部分是《奧賽羅》的劇本翻譯探討與練習,導演依據的是英文版本,指導說中文的演員工作,如此的工作模式,導演必須更深層進入文本翻譯細節:像是字句、行間隱意、莎士比亞透過字裡行間的舞台指示等等。第二部分「跨文化戲劇交流」聚焦於三個最有轉換性與實驗性的:(1)演員與表演、(2)有關「他文化」戲劇的訓練、以及(3)對身體的實驗。最後「跨文化劇場」交流需要經過正式演出的過程,層層篩選與彌合不同劇種間的扞格,只有少數來源文化(source culture)的元素,可以進入目標文化(target culture)