2018年，台灣劇團「莎士比亞的妹妹們的劇團」將加拿大作家艾莉絲•孟若的短篇小說集《親愛的人生》重製為台灣舞台劇《親愛的人生》，由王嘉明編劇、執導。這齣舞台劇由四個短劇組成，將場景設在台灣桃園，並非單純改寫原作，而是提煉孟若的敘事風格、主旨和微妙情感，打破原作品短篇小說的框架，但又成功將短篇小說搬上舞台，以舞台劇的形式重演這齣台灣版《親愛的人生》。
本研究旨在將台灣版《親愛的人生》劇本翻譯為英文。這部作品歷經從外國文學重寫成台灣舞台劇，再回譯成英文的跨文化行旅，可以視為當代台灣戲劇走向英語世界的一小步。除了翻譯之外，本研究還對劇本中的文化詞添加譯注，同時也在譯注中指出台版《親愛的人生》如何與孟若的原作相連結。本研究的導讀部分則在文獻綜述的基礎上對兩部作品進行導讀。從孟若的短篇小說到王嘉明的舞台劇，雖然時空移轉、情節完全改寫，但兩部作品可以透過共通的主旨、議題甚至細節相連結，亦即能夠透過互文性來欣賞和研究。
對於讀過孟若原作的讀者，本研究及譯本能讓他們藉此一窺孟若作品在台灣的改寫經驗，而譯注可供不瞭解台灣在地文化的英文讀者參考。對於看過台灣舞台劇《親愛的人生》的讀者，也可以從這部作品出發，追溯到孟若的原作，體會王嘉明精彩的改寫歷程。
關鍵詞：戲劇，重寫，改編，翻譯，親愛的人生，艾莉絲•孟若，王嘉明，在地化

Inspired by Canadian writer Alice Munro’s short story collection Dear Life, Taiwanese theatre Shakespeare’s Wild Sisters Group produced the Taiwanese play Dear Life in 2018, written and directed by Wang Chia-Ming. This Taiwanese play contains four playlets with rich local cultural elements of Taoyuan, which is not an adaptation, but an entire rewriting based on the 14 short stories of Munro’s Dear Life. Wang Chia-Ming absorbed and extracted Munro’s narrative style, concerns and subtle emotions, broke the frame of the short stories, and reproduced the Taiwanese Dear Life in the form of theatre performance.
This annotated translation with a critical introduction aims to complete an annotated Chinese-English translation of the Taiwanese play Dear Life. Rewriting a foreign literary work into a Taiwanese play, then translating it back to English, it can be considered as a cross-cultural journey of an art work, and also a step of contemporary Taiwanese play being seen and discussed in the English world. In addition to script translation, Taiwanese cultural words are annotated in detail, and where the Taiwanese Dear Life echoes with Munro’s Dear Life is indicated. The annotated translation can serve as a reference for English readers who do not understand the local Taiwanese culture.
The critical introduction, based on the literature review, tries to guide readers to understand the two works. In the rewriting process from Munro’s short stories to a Taiwanese play, although the plots are entirely changed, the two works can link through some clues, therefore the two works can be read, discussed and enjoyed through the intertextualities.
For readers who have read Munro’s short story collection Dear Life, this annotated translation with a critical introduction can provide them with the rewriting experience of Munro’s work in Taiwan. For those who have seen the Taiwanese play Dear Life, they can start from appreciating the viewing experience of this play, and then trace back to Munro’s original work to experience the brilliant process of rewriting.

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