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摘要：戏剧是世界文学艺术中不可或缺的重要组成部分，有着悠久的历史。作为一种特殊的文学体裁,戏剧创作需要考虑读者阅读,还需要进行舞台表演。因此，出现了诸多有争议的观点：戏剧翻译作品是文学读本还是演出文本；戏剧翻译的目的是可念性还是可演性等。因为戏剧本身的二元性，戏剧翻译任务变得复杂和困难。“可表演性”是戏剧翻译的重要原则之一。本文以《茶馆》的两个英译本为研究对象，结合一些具体数据对两英译本的舞台表演性展开对比研究,分析译本中译者实现“可表演性”原则的方法、技巧和侧重点。通过对戏剧英译需考虑的舞台表演性原则进行阐释,希望为戏剧翻译者提供一个新的视角,对我国戏剧走向世界有所裨益。25187
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毕业论文关键词：戏剧翻译；可表演性；《茶馆》
Contents
ABSTRACT 1
KEY WORDS 1
摘要 1
关键词 1
1. INTRODUCTION 2
1.1 Research background 2
1.2 Objective of study 2
1.3 Organization of the paper 3
2. DRAMA AND DRAMA TRANSLATION 3
2.1 Defintion of drama 3
2.2 The influence of duality on drama 3
3. LITERATURE 4
3.1 Studies on stage performability at home and abroad 4
3.1.1 Susan Bassnet's views on stage performability 4
3.1.2 Views on stage performability in China 5
3.2 Studies on translation of Teahouse at present 6
4. TEAHOUSE AND ITS TWO ENGLISH VERSION 7
4.1 Teahouse 7
4.1.1 Brief introduction to Teahouse 7
4.1.2 About two translators 8
5. PERFORMABILITY IN TWO ENGLISH VERSIONS OF TEAHOUSE 8
5.1 Language features in stage performability 8
5.1.1 Colloquialism 8
5.1.2 Inpiduality 8
5.1.3 Understandability 8
5.2 Performability in two English version of Teahouse 9
5.2.1 Comparative study on colloquialism 10
5.2.2 Comparative study on inpiduality 11
5.2.3 Comparative study on understandability 12
6. CONCLUSION 13
ACKNOWLEDGEMENTS 14
BIBLIOGRAPHY 15
On Performability in Drama Translation—A Case Study on Two English Versions of Teahouse
Abstract: As an integral part of the world literature and art, drama has a long history. It is different from other literary genres, is to meet the need of the readers and to be performed on the stage. Therefore, some disputes have occurred: drama translations are literary texts or acting texts; and drama translation is reading-oriented or performance-oriented, and so on. Because of the dual characteristics of drama, the task of translation is complex and difficult. Performability is one of the important principles in drama translation. In this paper, a comparative study is carried out on some concrete data from different aspects in two English versions of Lao She’s Teahouse, by analyzing translation methods and techniques and focusing on performance-oriented translations. By elaborating the principle of stage performability in drama translation, the author hopes to provide a new angle for drama translators, promoting the globalization of Chinese drama.