The future of Shakespeare may well lie beyond the English language.
莎士比亚的未来可能存在于英语之外的语言中。
The future of Shakespeare may well lie beyond the English language. That was the striking message I took away from a talk by translation studies scholar Professor Susan Bassnett at the British Shakespeare Conference in Hull in 2016.
莎士比亚的未来可能存在于英语之外。这是我在2016年于休尔举行的英国莎士比亚会议上，从翻译研究学者苏珊·巴斯内特教授的演讲中得到的深刻启示。
Her point was simple but powerful: Shakespeare’s works are likely to survive and flourish not only in English, but through translation, adaptation and reinvention across the world. Inspired by this, I asked six of my colleagues around the globe to share some Shakespeare adaptations in other languages that you might enjoy.
她的观点简单却有力：莎士比亚的作品不仅能在英语中存续和繁荣，更能在全球范围内通过翻译、改编和再创造而延续。受此启发，我请了全球六位同事分享一些您可能会喜欢的其他语言的莎士比亚改编作品。
1. Goliyon Ki Raasleela Ram-Leela (2013)
《Goliyon Ki Raasleela Ram-Leela》（2013）
Hindi, based on Romeo and Juliet
印度语，改编自《罗密欧与朱丽叶》
Ram‑Leela is as heady a mix as Shakespeare’s own play, in equal parts comic and tragic, tender and flamboyant. Director Sanjay Leela Bhansali relocates the action of Verona to an Indian town riven by two criminal clans: Rajadis and Sanedas. Violence saturates daily life. Bullets spill from spice jars and a Rajadi child urinating on Saneda territory ignites a vicious brawl.
《Ram-Leela》的混搭程度堪比莎士比亚自己的作品，它既有喜剧色彩，又有悲剧色彩；既温柔，又华丽。导演桑杰·莉拉·班萨利将故事背景从维罗纳转移到了一个被两个犯罪家族——拉贾迪和萨内达——撕裂的印度小镇。暴力充斥着日常生活。子弹从香料罐中洒落，一个拉贾迪的孩子在萨内达的领地小便，从而引发了一场恶斗。
In such a world, can love bring peace? The leads’ scorching chemistry makes us hope. My students practically swooned during a screening. At the end, soulful lyrics such as “Tera naam ishq / Mera naam ishq” (“Your name is love / My name is love”) frame the film’s Romeo and Juliet – Ram and Leela – through love rather than their hate-fuelled lineage.
在这样的世界里，爱能带来和平吗？主演们火花四射的化学反应让我们充满希望。我的学生在观影时几乎晕了过去。最后，像“Tera naam ishq / Mera naam ishq”（你的名字是爱 / 我的名字是爱）这样的深情歌词，让这部电影中的罗密欧与朱丽叶——拉姆和莉拉——通过爱而非他们充满仇恨的血脉联系起来。
The film also gives depth to its Lady Capulet and nurse figures, while Leela is sensual, witty and brave. Juliet exactly as Shakespeare imagined her.
影片还赋予了其卡普莱特夫人和奶妈角色深度，而莉拉则性感、机智而勇敢。朱丽叶完美地还原了莎士比亚的想象。
Varsha Panjwani teaches at New York University, London, and is the creator and host of the podcast Women and Shakespeare.
Varsha Panjwani 就职于伦敦纽约大学，是播客《女性与莎士比亚》（Women and Shakespeare）的创作者和主持人。
2. Otel·lo (2012)
2. Otel·lo (2012)
Catalan, based on Othello
加泰罗尼亚作品，改编自《奥赛罗》
An award-winning work of Catalan cinema, Otel·lo transposes Shakespeare’s play to a contemporary film studio. Such a meta-narrative approach feels in line with the play’s focus on the enticing power of storytelling – famously embodied in the character of Iago as its arch-villain.
这部屡获殊荣的加泰罗尼亚电影《奥特洛》，将莎士比亚的剧作移植到了一个当代电影制片厂。这种元叙事手法与剧作对讲故事诱人力量的关注相吻合——这种力量在反派角色伊阿古身上得到了著名的体现。
Blending documentary, mockumentary and thriller aesthetics, the film turns Iago into an unscrupulous filmmaker willing to cross every boundary in the name of art. With his role played by the actual director of the film (Hammudi Al-Rahmoun Font) , the adaptation skilfully integrates form and content. We are, like Othello, manipulated into thinking that the fiction he has created is reality.
该片融合了纪录片、伪纪录片和惊悚片的美学，将伊阿古塑造成了一个不择手段的电影制作人，为了艺术可以跨越一切界限。由于该角色由电影的实际导演（Hammudi Al-Rahmoun Font）本人出演，这部改编作品巧妙地融合了形式与内容。我们，就像奥赛罗一样，被误导相信了他所创造的虚构就是现实。
The film asks: To what extent are the images we absorb real? What purpose do they serve? And how do they affect our views on gendered and racialised minorities?
这部电影提出了问题：我们吸收的图像在多大程度上是真实的？它们服务于什么目的？它们又如何影响我们对性别化和种族化少数群体的看法？
Inma Sánchez García is a lecturer in European languages and culture at the University of Edinburgh.
Inma Sánchez García 是爱丁堡大学欧洲语言和文化讲师。
3. Throne of Blood (1957)
3. 血坛突围 (1957)
Japanese, based on Macbeth
日本作品，改编自《麦克白》
The genius of Throne of Blood is that despite being set in 16th century Japan and changing almost everything about the original, it is immediately recognisable as the Scottish play. It’s considered by many to be the greatest Shakespeare film ever made.
《血坛突围》的精妙之处在于，尽管故事背景设定在日本16世纪，并且改变了原作的几乎所有内容，但它仍然让人立刻认出这是那部关于苏格兰的剧作。许多人认为它是有史以来最伟大的莎士比亚电影。
The mist-swirled locations, the screeching flute and ominous drumbeats, the spooky old lady in the forest, and above all the samurai, barking orders and getting lost on their horses, can mean only that “Macbeth doth come”. The final scene when Washizu’s (Macbeth’s) soldiers turn on him with a hail of arrows may even represent an improvement on Shakespeare. Meanwhile his poker-faced lady clearly wears the kimono-trousers in their marriage.
弥漫着迷雾的场景、尖锐的笛声和不祥的鼓点、森林里诡异的老妇人，以及最重要的是那些武士，他们大喊命令，骑着马迷失方向，只能意味着“麦克白来了”。最后一段，当洗须（麦克白）的士兵们用箭雨反戈他时，甚至可以被视为对莎士比亚的改进。与此同时，他那面无表情的妻子在婚姻中明显穿着和服裤。
Daniel Gallimore is a professor of literature and linguistics at Kwansei Gakuin University
Daniel Gallimore是观世学园大学文学和语言学教授。
4. Bhrantibilas (1963)
4. Bhrantibilas (1963)
Bengali, based on Comedy of Errors
孟加拉语，改编自《错误喜剧》
If you asked me to pick a favourite Shakespeare film, I’d probably surprise people by saying Bhrantibilas. It’s one of the earliest filmed Shakespeare adaptations in Indian cinema. It was also the inspiration for the globally popular film Angoor (1982) .
如果让我选一部最喜欢的莎士比亚电影，我可能会出人意料地说《Bhrantibilas》。它是印度电影史上最早拍摄的莎士比亚改编作品之一。它也是全球流行的电影《Angoor》（1982年）的灵感来源。
What I love about it is how confidently it relocates Shakespeare’s farce into a Bengali urban world without ever feeling like a dutiful “literary” exercise. A huge part of its lasting appeal is Bengali superstar Uttam Kumar. It’s pure pleasure watching him play the twin roles – Antipholus of Syracuse and Antipholus of Ephesus, identical twins separated at birth, whose accidental reunion causes chaos. His comic timing is razor-sharp, and there’s also an ease and charm that makes the confusion feel human, never mechanical.
我喜欢它的一点是，它自信地将莎士比亚的闹剧搬到了孟加拉的都市世界，但从未让人感觉像是在完成一项义务性的“文学”练习。它持久的吸引力很大程度上归功于孟加拉超级巨星乌塔姆·库马尔（Uttam Kumar）。看他扮演这对双胞胎——西拉库斯安提福洛斯和埃法斯安提福洛斯，一对出生时分离的同卵双胞胎，他们的意外重聚引发了混乱——简直是一种纯粹的享受。他的喜剧时机把握得非常精准，而且那种轻松和魅力让所有的混乱都显得那么人性化，绝不机械。
Decades on, audiences still return to Bhrantibilas, often knowing every gag by heart, which says a lot about its cultural afterlife. For me, it’s a perfect example of how Shakespeare survives not through reverence but through reinvention – absorbed into popular cinema and kept alive by star power, humour and sheer re-watchability.
几十年过去了，观众仍然会重温《Bhrantibilas》，甚至能把每一个笑点都背得滚瓜烂熟，这说明了它强大的文化生命力。对我来说，这是莎士比亚如何不依靠敬畏，而是通过重塑来延续的完美范例——它被吸收进了大众电影，并由明星魅力、幽默感和纯粹的重看价值维系着。
Koel Chatterjee is a lecturer in English at Regent College, and the creator and host of The Shakespop Podcast and The Shakesfic Podcast.
Koel Chatterjee 是 Regent College 的英语讲师，也是《The Shakespop Podcast》和《The Shakesfic Podcast》的创作者和主持人。
5. Rahm (2016)
5. Rahm (2016)
Urdu, based on Measure for Measure
《Measure for Measure》的乌尔都语版
Measure for Measure has long been regarded as a “problem play”. Disfavoured among Shakespeare’s works for centuries, it hit stages again in the 20th-century and reached new audiences through its resonances with the #MeToo movement.
《衡量》长期以来一直被视为一部“问题剧”。在莎士比亚的作品中，它曾被世人忽视了几个世纪，直到20世纪它重返舞台，并通过与#MeToo运动的共鸣触及了新的观众群体。
A local leader tells a devout woman that if she loses her virginity to him, he will spare her imprisoned brother’s life. This film shifts the action from early modern, Catholic Vienna to an ambiguous period in Islamic Lahore. Moderate and extremist versions of faith contend, against the backdrop of the city. This film’s billing as a thriller, and status as the only big screen version of the play, help raise it from obscurity.
一位地方领袖告诉一位虔诚的女性，如果她向他失去贞操，他就会饶恕她被监禁的兄弟的生命。这部电影将故事背景从早期现代的天主教维也纳，转移到了伊斯兰拉合尔一个模棱两可的时期。信仰的温和派和极端派在此城市背景下展开了争论。这部电影被宣传为惊悚片，并且是该剧唯一的银幕版本，帮助它摆脱了默默无闻的境地。
Sarah Olive is a senior lecturer in English literature at Aston University.
Sarah Olive是阿斯顿大学英语文学高级讲师。
6. To The Marriage of True Minds (2010)
6. 致真挚心灵的结合 (2010)
Arabic, based on Sonnet 116
阿拉伯语，改编自十四行诗116
This freely available short film expands on one of Shakespeare’s shortest forms: the sonnet. It riffs on Sonnet 116, heard at countless weddings: “Let me not to the marriage of true minds … admit impediments.” Here, its Arabic translation provides both the back story to – and future hope for – an asylum-seeking couple in a same-sex relationship, Falah (Amir Boutrous) and Hayder (Waleed Elgadi) .
这部免费短片扩展了莎士比亚最短的诗歌形式之一：十四行诗。它以十四行诗116为灵感，这首诗在无数婚礼上被吟唱：“不要让我阻止真挚心灵的结合……”。在这里，其阿拉伯语译本为一对同性伴侣——寻求庇护的法拉赫（Amir Boutrous）和海德尔（Waleed Elgadi）——提供了背景故事和未来的希望。
The story of their journey by sea, and shots of a tossed-about paper boat reference the poem’s sea-voyage imagery. Over 12 tense minutes, we hold our breath to see whether the Iraqi poet and his childhood beloved will overcome the impediments of religious conservatism, on one shore, and an apparently hostile asylum system on the other.
他们乘船的旅程，以及那些漂浮的纸船的镜头，都引用了诗歌中的海上航行意象。在超过12个紧张的分钟里，我们屏息凝神，想知道这位伊拉克诗人能否克服来自一方的宗教保守主义的障碍，以及另一方看似敌对的庇护系统。
Sarah Olive is a senior lecturer in English literature at Aston University.
Sarah Olive 是阿斯顿大学英语文学高级讲师。
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本文包含的图书引用是出于编辑原因，可能包含指向 bookshop.org 的链接。如果您点击其中一个链接并在 bookshop.org 购买商品，The Conversation UK 可能会获得佣金。
Sarah Olive does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
Sarah Olive 不受任何从本文中受益的公司或组织的雇佣、咨询、拥有股份或资金支持，并且除了其学术任命之外，没有披露任何相关的隶属关系。
