2014年，台灣劇作家簡莉穎將安東•帕夫洛維奇•契訶夫（Anton Pavlovich Chekhov）的戲劇《三姐妹》改寫為台灣戲劇《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》，並於2015年首演。這部劇作從1900年的俄國移植到當代台灣，並不是簡單地翻譯劇本或植入在地元素，而是在深刻理解原作與台灣社會中人與人、人與環境之間微妙關係的基礎上，對原作劇情的完全改寫。
這篇論文探討改編劇作如何結合在地社會背景與文化的基礎上重現原作，並藉助琳達•赫全（Linda Hutcheon）的改編理論，挑戰劇作家簡莉穎「改寫終將失敗」的觀點。研究認為改編劇作再現了不同時代、不同地域的人們共有的困境、焦慮和希望，重現了原作的主題和精神。同時，改編作真實貼切地反映了當代台灣人的心理和困境，將契訶夫精神鮮活地融入到當代台灣人的生活中，和原作在不同的時空裡遙相呼應，讓《三姐妹》這部經典劇作得以延續，是一部成功的改編作品及文化產品。
如今台灣劇場引進西方劇作，常見的做法之一是保留原作情節，僅僅將故事發生地點移轉到台灣。然而這種做法無法避免翻譯後的劇本與原作、觀眾與原作之間的距離。《全國最多賓士車的小鎮住著三姐妹（和她們的Brother）》成功的改寫經驗可供台灣劇場在引進西方劇作時參考。

關鍵詞：戲劇，重寫，改編，三姐妹，契訶夫，簡莉穎，跨文化翻譯，在地化

In 2014, Taiwanese playwright Chien Li-Ying rewrote Anton Pavlovich Chekhov’s play The Three Sisters into Ok, My Dear Sisters . The play’s cultural transplantation from Russia in 1900 to contemporary Taiwan was not a mere translation of the script or implantation of local elements, but a complete rewriting of the plot based on Chien’s in-depth understanding of the subtle interpersonal and people-environment relationship in both the original play and the contemporary Taiwanese society.
This thesis explores how the adapted play reproduced the original with a combination of local socio-cultures, and refuted the playwright Chien Li-Ying’s idea “Rewriting is doomed to fail” with the help of Linda Hutcheon’s theory of adaptation. The adapted play reproduced the shared plights, anxiety and expectations of people living in different times and places, echoing the similar themes of the original work. It makes the classic play revive and long-lasting through the combination of local socio-cultures and the reflection of the psychology and predicament of contemporary Taiwanese people. The adaptation can be considered as a successful adaptation and cultural product.
Today when introducing western plays to Taiwan, it is popular among local theatres to keep the original plot and merely translate the script or change where the story takes place to Taiwan. However, these performances cannot avoid translationese and the distance between the original story and the audiences. The successful rewriting/adaptation practice of Ok, My Dear Sisters is worth referring to in introducing foreign plays to local theatres.

Keywords: Drama, Rewriting, Adaptation, The Three Sisters, Chekhov, Chien Li-Ying, Cross-cultural Translation, Localization

Table of Contents
Chapter One: Introduction 1
I. Introduction of Ok, My Dear Sisters and The Three Sisters 1
II. Introduction of Rewriting Classics Project 3
III. Chapter Overview 6
Chapter Two: Theoretical Approach 7
I. Szegedi Lukács György Bernát’s Theory of Totality and Type 7
II. Linda Hutcheon’s Theory of Adaptation 10
Chapter Three: Literature Review 16
I. Literature Review about The Three Sisters 16
II. Literature Review about Ok, My Dear Sisters 21
Chapter Four: Equivalence in Structure 27
I. Past, Present and Future 27
II. Economic Predicament 33
III. Inescapable Patriarchy 35
Chapter Five: Equivalence in Characters 42
I. The Writing about Losers—Andrey and David 42
II. Irina and Yen-Chu 49
Chapter Six: Discussion 55
I. Reproduction of Reality 55
6.2 Is Adaptation Doomed to Fail? 58
Chapter Seven: Conclusion 65
Works Cited 69
Appendix: Verbatim Transcription of the Interview with Chien Li-Ying 73

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