改編，就像同一種食材有許多種呈現方式，如巧克力，可以是熱可可也可製 成布朗尼。故事透過不同媒介表現，產生獨特的風貌。長久以來數不清的小說或 漫晝被當做是電影或戲劇改編的材料，由靜態紙本轉化成動態影像，似乎是一個 比較具有創作空間的方向，反觀電影或戲劇到紙本的逆向操作，過去常被認為是 商業考量大於創作價值。這次綠光劇團則逆向將舞台劇「人間條件」系列改編成 漫晝，這不僅代表一個新的改編形式產生，同時也使我們進一步思考，在這樣的 改編中，舞台劇和漫晝各自產生了什麼獨特的美學價值？本文將先討論舞台劇與 漫晝這兩種形式的自身特質，再以《人間條件2 ：她與她生命中的男人們》為例， 分析這些特質在此例中的展現。就比較動態藝術和紙本藝術來說，時間性和空間 性是關鍵性的差異，而在舞台劇改編漫晝的形式中，圖像由動態轉變成靜態的手 法正是此改編形式中最特殊之處。舞台劇和漫晝都有觀賞者，因此又可裂分成閱 讀與觀看（外部）和故事（内部）兩個視角，故本文將從：閱看時間、劇情、閱 看空間與晝面等四個主題來進行探討。漫晝與舞台劇之間無法相互取代、無法複 製的特點，使這兩種藝術形式產生各自的美學價值。

Chocolate can be a cup of hot cocoa in the winter. In the summer, it becomes a cone of rocky road. The story of chocolate can adjust, and become unique, with the difference in scenery. That adjustment is called adaptation. It has been habitual to find novels or comics as the key ingredient in film and theatre adaptation. However, it is not so much vice versa as the kinetic to static differences make such a transformation an anomaly. Despite its rarity, the Green Ray Theatre, one of the most prominent theatres in Taiwan, debuted a comic book adaptation of its popular drama series Human Condition. The play to print shift sheds new light on the formality of adaptation and the uniqueness in the aesthetics produced. The aim of this thesis is to reveal the different characteristics between the two mediums with the spotlight on the second play of the Human Condition series, Those Men in Her Life, to analyze how these characteristics and aesthetics are exhibited. As the perspective is changed from watch to read, the analysis is focused on the categories of time, space, scene and composition for revelation. Different mediums have their own ways of expression. Comic books intrigue visually. Theatres enchant emotionally. Even with the same ingredients, their features translate the story to the scenery, allowing the adaptations to always have a flavor of its own.