从目的论角度看戏剧《玻璃动物园》翻译的可表演性

发布时间：2018-10-24 08:41

【摘要】：随着人们生活水平的提高,越来越多的人会选择周末去剧院看戏剧。为了使国内戏剧更加多样化,以满足不同年龄段观众的需求,一方面,国内导演不断创造出新的剧本;另一方面,翻译者或戏剧研究者从国外引入优秀的戏剧或者进行部分改编。后者中,翻译充当了桥梁的作用。但是,一直以来,戏剧翻译都是一个较大较难的研究课题。因为不同于其他文学作品,戏剧具有双重性:可读性和可表演性。对于哪一点应该作为翻译时首要考虑的因素,戏剧翻译理论学家也一直争议不休。本文以田纳西的《玻璃动物园》为例,以Vermeer于1978年提出的目的论为理论基础,探讨戏剧翻译的可演性,并总结了一些戏剧翻译时所需注意的问题。首先,笔者根据翻译的时间、目的和译者所擅长的领域,从《玻璃动物园》五个译本中选出两个相对具有代表性的版本进行对比分析,分别来自翻译家鹿金和台湾女导演马汀尼。然后通过结合Vermeer的三个原则(目的原则,连贯原则和忠实原则)和戏剧的语言特征(经济性,动作性,本土化、个性化、修辞手法),笔者对两个译本的可表演性作出深刻分析。对比译文时,笔者采用了比较分析法和案例分析法。通过对比分析,笔者发现:鹿金的译本多采用直译,通过注释较好地保留了原文的句子结构和意义;马汀尼的译本多采用意译,语言更加口语化,贴近生活,较好地体现了舞台戏剧的语言特点,但其不足之处在于对有些专有名词翻译不够准确。但整体上,马汀尼的译本更加适合舞台演出。除了对译本的可表演性进行分析外,笔者还总结了一些戏剧翻译时所需要考虑的方面。首先,根据目的原则,译本应尽可能保持简洁,减少使用模棱两可的词句和多重否定词;同时,要注意语言的动作性,特别是动词的翻译,需体现舞台表演的完整性和连贯性,并突出人物的性格。其次,根据连贯原则,翻译时要格外留意专有名词或修辞手法的翻译,以确保观众能及时掌握戏剧的情节发展。最后,根据忠实原则,戏剧翻译不应忽略任何细节,比如人物性格的描述,舞台场景的布局等。
[Abstract]:As people improve their living standards, more and more people choose to go to the theatre on weekends. In order to diversify the domestic drama to meet the needs of audiences of different ages, on the one hand, domestic directors are constantly creating new scripts; on the other hand, Translators or drama researchers introduce good plays or make partial adaptations from abroad. In the latter, translation acts as a bridge. However, drama translation has always been a relatively difficult research topic. Unlike other literary works, drama has a dual character: readability and expressiveness. Drama translation theorists have been disputing which should be the primary consideration in translation. Taking "Glass Zoo" in Tennessee as an example, based on the Skopos theory put forward by Vermeer in 1978, this paper discusses the performance of drama translation, and summarizes some problems that should be paid attention to in drama translation. First of all, according to the time, purpose and field of translation, the author selects two relatively representative versions from the five versions of Glass Zoo for comparative analysis. From translator Lu Jin and Taiwanese female director Martini. Then, by combining the three principles of Vermeer (Skopos principle, coherence principle and faithfulness principle) and the linguistic characteristics of drama (economy, action, localization, personalization, rhetoric), the author makes a profound analysis of the expressiveness of the two versions. When contrasting the translation, the author adopts the comparative analysis method and the case analysis method. Through comparative analysis, the author finds that most of Lukin's translations adopt literal translation, and the sentence structure and meaning of the original text are better preserved through annotations, while Martini's version adopts free translation, and the language is more colloquial and close to life. It embodies the linguistic characteristics of stage drama, but its deficiency lies in the inaccuracy of translation of some proper nouns. But on the whole, Martini's translation is more suitable for stage performance. In addition to analyzing the expressiveness of the translation, the author summarizes some aspects that need to be considered in the translation of drama. First of all, according to the objective principle, the translation should be as concise as possible and reduce the use of ambiguous words and multiple negative words. At the same time, attention should be paid to the movability of language, especially to the translation of verbs, which should reflect the integrity and coherence of the stage performance. And highlight the character of the character. Secondly, according to the principle of coherence, we should pay special attention to the translation of proper nouns or rhetorical devices in order to ensure that the audience can grasp the development of drama in time. Finally, according to the principle of faithfulness, drama translation should not ignore any details, such as character description, stage scene layout, etc.
【学位授予单位】：中国地质大学(北京)
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：H315.9

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