Abstract: Yeweiyang, the Chinese version of the Western play W przededniu translated into Chinese during the modern era, holds a significant historical importance in the realms of modern Chinese drama and 20th-century Chinese literature. Its author, Leopold Kampf, was a Jewish writer born in the Polish-occupied zone under Austrian rule who created works in German while living in Germany, causing a complex identity background and cultural affiliation. W przededniu was banned in Germany and subsequently translated and disseminated to the United States, France, and other European countries, leading to varying levels of success due to differences in translation quality and target audience. The French translation, after being further translated by Li Shizeng and Ba Jin, gained wide popularity in China and had a lasting impact. The success of the play in China can be attributed not only to the subjectivity and translation strategies of the translators, but also to the harmonization of its core elements with the social needs of various historical stages in modern China. This alignment has allowed the play to serve as a mirror reflecting the “other”, fulfilling the inner expectations and spiritual pursuits of its audience.

Key words: cross-cultural dissemination, W przededniu (Yeweiyang), Leopold Kampf, identity recognition, cultural differences

摘要： 《夜未央》作为近代最早被译入中国的西方剧本之一,在中国现代戏剧史和中国20世纪文学史上留下了深刻的烙印。其作者廖亢夫是一名出生在奥地利统治之下的波兰占领区的犹太人,在德国以德语进行创作,身份背景和文化认同相当复杂。《夜未央》在德国被禁,辗转译介至美、法和其他欧洲国家,因译本质量的差异和对象国受众的区别,传播的效果也大有差异。法译本经李石曾和巴金等人转译后,在中国得以广泛传播并造成了持久影响。剧作在中国的成功不仅归功于译者的主体性和翻译策略,更源于剧本本身所蕴含的核心元素与近现代中国各历史阶段社会需求的契合,这使该剧得以持续作为一种“他者”镜像,反映并满足接受主体的内心期待和精神追求。

关键词: 跨文化传播, 《夜未央》, 廖亢夫, 身份认同, 文化差异