劇本翻譯是文學翻譯當中一個相當特殊的類別，翻譯除了要保留原劇本的文學性和語言風格之外，更必須顧及搬演時舞台效果的需求，和不同語言與文化的觀眾的接受。本研究以法國劇作家保羅·克羅岱爾(Paul Claudel, 1868-1955)於1924到1929年間完成的世界劇場《緞子鞋》(Le soulier de satin)為法德戲劇的交流為例，此劇在法國僅有幾個經典演出，但自1944年開始直至2012年，在德語區卻有諸多的演出。它在德語區的演出史可被區分為兩個時期(以1985年為區隔)，而區分這兩個時期的基本差異就是搬演所根據的譯本不同。《緞子鞋》的兩個德語譯本翻譯的目的和完成時間截然不同，這篇論文探討兩個譯本的不同之處，從一些基本的表達法來做比對，同時也比較劇中關鍵的幾個對話;而且因為劇場為表演藝術，語言和其他符號系統有不同程度的交互作用，故在此也比對不同演出時，導演因應不同的舞台表演需求和效果所做的劇本刪減。

Drama translation, as a literary translation, is very complicated in many aspects. Such a translation has to take into consideration how to preserve the literary characteristics and the language style of the original, how it would be performed on stage and especially how it would be received by audiences from different cultures and languages. This research takes Paul Claudel’s drama The Satin Slipper as an example which was frequently performed in German-speaking countries during 1944 and 2012. The history of the miseen-scènes can be divided into two periods (before and after 1985). One of the factors dividing the play’s performance history is its two German translations which were finished in different epochs and for different goals. Here, the difference of the two translations is detailed and discussed in depth. Some expressions and key dialogues are selected to illustrate the differences regarding rhetorical devices, word choice and so on. Because drama is by nature a performative art, language interacts with other semiotic systems such as the body language, movements and costumes of the actors, scenery and stagecraft etc. Therefore, what different directors demand in different productions by adding extra body expressions and omitting some text portions will also be discussed.