Abstract: Translation is the first step in the whole process of intercultural theatric research (including theatre's translation, adaptation, performance and communication). Ancient Greek theatres have been translated into China for more than one hundred years. From the initial introduction of Greek classical theatre in the New Culture Movement as a correction of Western modernity to the continuous re-translation of these classics in the 21st century, their translated afterlife and interanimation between Sino-Greco literature have been deeply embedded in the ways and experiences of the translations in China. These theatric translations not only have been faced with difficulty in representing both the classicism and the alternities contained in the ancient Greek plays when translated into Chinese, but also could be extended to the subsequent adapting and performing of plays, therefore there are more complex needs for their languages and texts. This paper focuses on the two representative Chinese translated versions of Aeschylus's Agamemnon, which have been retranslated ten times, in the mainland and Taiwan of China. By analyzing the details of the key lines from ancient Greek to Chinese, the paper explains the necessity of re-translating classical theatre and the rebirth, interanimation and symbiosis revealed by the two Chinese translations.

Key words: Ancient Greek theatre, Agamemnon, Chinese translation, Interanimation, Luo Niansheng, Lu Chien-Chung

摘要： 翻译是全过程的戏剧跨文化研究(译、编、演、传)的首要环节。古希腊戏剧被译入中国已有一百多年的历史,从最初新文化运动中作为纠偏西方现代性的古典经典的引入,到21世纪仍不断复译的古典戏剧,重生与互化深刻嵌入古典戏剧在中国的跨文化翻译之途。古典戏剧的汉译,既有译入汉语时古希腊戏剧内含的古典性和外异性双重实现的困难,且戏剧的跨文化翻译又延伸到其后的剧本改编和演出,故而对语言和文本有更复杂的需求。本文以复译次数高达10次的埃斯库罗斯《阿伽门农》的陆台两地代表性汉译本为聚焦点,通过分析其中关键诗行从古希腊语到汉语的翻译细节,阐释古典戏剧复译的必要性以及两种汉译所启示的重生、互化与共生关系。

关键词: 古希腊戏剧, 《阿伽门农》, 汉译, 互化, 罗念生, 吕健忠