# 《遙遠的東方有一群鬼》在吉隆坡：臺馬演員同台，劇本未刻意在地化

- URL: https://justfly.idv.tw/%e3%80%8a%e9%81%99%e9%81%a0%e7%9a%84%e6%9d%b1%e6%96%b9%e6%9c%89%e4%b8%80%e7%be%a4%e9%ac%bc%e3%80%8b%e6%8f%9b%e4%ba%86%e4%b8%80%e6%a1%8c%e4%ba%ba%ef%bc%8c%e5%ae%b6%e9%82%84%e6%98%af%e9%82%a3%e5%80%8b/
- 日期: 2026-11-14
- 分類: 文化觀察
- 標籤: 劇場, 台馬共製, 吉隆坡, 家庭劇

![示意插畫（生成圖像）：想像中的讀劇排練，非《遙遠的東方有一群鬼》劇照或現場紀錄]
*圖為示意插畫（生成圖像），不是本製作的劇照、排練照或現場紀錄；畫面中的人物、場景與場館字樣皆為想像。*

《遙遠的東方有一群鬼》（The Ghosts Within）這幾天在吉隆坡表演藝術中心（klpac）演出。文化部 11 月 12 日的新聞稿寫的是演到 11 月 15 日、共六場；[klpac 演出頁](https://www.klpac.org/shows/%E9%81%99%E9%81%A0%E7%9A%84%E6%9D%B1%E6%96%B9%E6%9C%89%E4%B8%80%E7%BE%A4%E9%AC%BC-the-ghosts-within/)列的場次是 11 月 12 至 15 日每晚 8 點，14、15 日另有下午 3 點場，場地是 Pentas 2。本文寫於 11 月 14 日，演出尚未落幕。新聞稿說首場票券已售罄，這個說法只限首場，其餘場次的狀況，新聞稿沒有寫。

##### 兩地演員，同一份劇本
劇本是臺灣劇作家簡莉穎的作品，導演是馬來西亞的羅國文。klpac 演出頁列的主辦（Presented by）是馬來西亞的平台計劃（Pentas Project）與 W Productions；駐馬來西亞臺北經濟文化辦事處與臺灣文化部列為支持單位（Supported by，中文頁寫「合作單位」）。文化部新聞稿的說法，則是駐馬來西亞代表處文化組「攜手」這兩個團隊。兩位臺灣演員赴馬[排練近一個月](https://www.moc.gov.tw/News_Content.aspx?n=105&s=265106)，與兩位大馬演員同台。
從導演的位置看，這一個月最值錢。同一份劇本交給兩地演員，台詞的節奏、停頓、哪一句該壓在喉嚨裡，各人的口音與習慣不同。[排練](https://zh.wikipedia.org/wiki/排練)的工作，就是讓這些差異先攤開，再決定哪些留下當角色的肌肉，哪些磨平。這是一般的排練經驗談，不是這個劇組排練過程的報導。

##### 「未刻意在地化」，公告只說了這麼多
新聞稿的原話是，本劇移師馬來西亞「並未刻意進行在地化改編」；劇組認為，無論在臺灣或馬來西亞，人們都面對過劇中關於家庭期待、傳統束縛與自我認同的困境。文本實際有沒有更動、更動多少，新聞稿沒有說明，這裡不替它補。還要記得，這個劇本本身就是一次重寫：klpac 演出頁寫明，它是簡莉穎對易卜生《群鬼》的跨時空改寫。
以下是一般的創作觀點，不是這個製作的官方說明或限制：當一個製作選擇不刻意在地化，調度、聲音、演員之間的距離，份量通常會變重；演員各自帶來的口音與習慣，也會是觀眾感受到差異的來源之一。這個版本實際怎麼處理，要看過演出才能說。

##### 還不能下的結論
文化部新聞稿附了劇照（有攝影者署名），本文沒有取得授權，也沒有看過演出，所以場上的道具、擺設與任何一場戲的樣子，這裡都不描寫。目前能確認的只有演期、場次、場館、主辦與支持單位，以及排練時間。
同樣不能下的結論還有幾項：六場是否都坐滿、馬來西亞觀眾是否與臺灣觀眾有同樣的反應、這個文本是否天生跨國通用。沒有觀眾調查，這些都只是推測。劇場的誠實，在於票房數字與觀眾反應各有各的出處，不混在一起。

##### 一個故事換一群人繼續演
[劇場](https://zh.wikipedia.org/wiki/劇場)跟影像不同，每一場都是重做。同一個劇本，換導演、換演員、換城市，等於換了一次呼吸。臺灣的劇本在吉隆坡由兩地演員一起演，是這件事很具體的樣子。
依 klpac 公告，11 月 15 日為最後演出日，當天有 15:00 與 20:00 兩場；餘票狀況本文未查證，請以 [klpac 官方頁面](https://www.klpac.org/shows/%E9%81%99%E9%81%A0%E7%9A%84%E6%9D%B1%E6%96%B9%E6%9C%89%E4%B8%80%E7%BE%A4%E9%AC%BC-the-ghosts-within/)為準。
— 沈偉哲
*更正紀錄（2026-11-14）：本文初版把文化部「未刻意進行在地化改編」一句引申為「不動文本、不能換地名／稱謂／城市」，並以想像的餐桌場景立論，皆無來源支持，已刪改並標明為一般創作觀點；結尾「明天是最後一場」更正為「11 月 15 日為最後演出日（當天兩場）」；補上主辦與支持單位的區分、場館官方連結與主圖的示意標示；標題同步修改。*

### A Taiwanese Play in Kuala Lumpur: A Taiwan–Malaysia Cast, a Script Not Deliberately Localized

*The image above is an AI-generated illustration, not a production photo, rehearsal photo or record of the actual show; the people, setting and venue lettering in it are imagined.*

《遙遠的東方有一群鬼》 (The Ghosts Within) is playing at the Kuala Lumpur Performing Arts Centre (klpac). A press release from Taiwan’s Ministry of Culture dated 12 November says it runs until 15 November, six performances in all. The [klpac show page](https://www.klpac.org/shows/%E9%81%99%E9%81%A0%E7%9A%84%E6%9D%B1%E6%96%B9%E6%9C%89%E4%B8%80%E7%BE%A4%E9%AC%BC-the-ghosts-within/) lists 8pm performances on 12–15 November plus 3pm performances on 14 and 15 November, in Pentas 2. This piece was written on 14 November, with the run still going. The press release said tickets for the first performance had sold out; that applies to the first show only, and it says nothing about the rest.

##### Two groups of actors, one script
The script is by Taiwanese playwright Chien Li-Ying, directed by Malaysian director Loh Kok Man. The klpac page lists the show as presented by Pentas Project (平台計劃) and W Productions, and supported by the Taipei Economic and Cultural Office in Malaysia and the Ministry of Culture, Taiwan. The Ministry’s own release describes its cultural division in Malaysia as teaming up with the two companies. Two Taiwanese actors travelled to Malaysia for [nearly a month of rehearsal](https://www.moc.gov.tw/News_Content.aspx?n=105&s=265106) and share the stage with two Malaysian actors.
A director would value that month most. The same script handed to two groups of actors lands differently: the rhythm of a line, where the pause falls, which sentence gets swallowed. [Rehearsal](https://en.wikipedia.org/wiki/Rehearsal) is where those differences get laid out and sorted into what stays as character and what gets sanded down. That is a general observation about rehearsal, not a report on this company’s process.

##### “Not deliberately localized” is all the announcement says
The press release says the production was “not deliberately localized” for Malaysia; the company’s view is that people in both Taiwan and Malaysia have faced the play’s dilemmas of family expectation, tradition and identity. Whether, or how much, the text was changed is not stated, and this piece does not fill that in. The script is itself a rewrite: the klpac page describes it as Chien Li-Ying’s reimagining of Henrik Ibsen’s *Ghosts*.
What follows is a general view of the craft, not an official statement about, or a constraint on, this production: when a production chooses not to localize deliberately, staging, sound and the distance between bodies usually carry more weight, and what each actor brings in accent and habit becomes one source of the difference an audience feels. How this version actually handles it can only be said after seeing it.

##### What cannot be concluded yet
The Ministry’s release includes production photos with a photographer credit. This piece has not cleared rights to them and its writer has not seen the show, so props, set and what any scene looks like stay undescribed. What can be confirmed is the run, the showtimes, the venue, the presenters and supporters, and the rehearsal period.
Other conclusions are off the table too: whether all six shows fill, whether Malaysian audiences respond as Taiwanese ones do, whether this text travels naturally. Without audience research those are guesses, and box office and audience reaction each need their own source.

##### One story, a new cast to carry it
[Theatre](https://en.wikipedia.org/wiki/Theatre) is remade at every performance. Change the director, the actors, the city, and the same script draws a different breath. A Taiwanese script performed in Kuala Lumpur by actors from both places is a plain instance of that.
According to klpac, 15 November is the final day of the run, with two performances that day, at 3pm and 8pm. Remaining ticket availability was not checked for this piece; see the [official klpac page](https://www.klpac.org/shows/%E9%81%99%E9%81%A0%E7%9A%84%E6%9D%B1%E6%96%B9%E6%9C%89%E4%B8%80%E7%BE%A4%E9%AC%BC-the-ghosts-within/).
— 沈偉哲
*Correction (14 November 2026): an earlier version stretched the Ministry’s “not deliberately localized” into claims that the text was untouched and that place names, forms of address and setting could not change, and built an argument on an imagined dinner-table scene; none of that was sourced, and it has been removed or marked as general opinion. “Tomorrow is the last performance” has been corrected to “15 November is the final day, with two performances”. The roles of presenters and supporters, a direct venue link and an illustration notice were added, and the headline was changed.*