论中国现代改译剧

发布时间：2019-02-21 14:24

【摘要】： 在中国现代话剧发展的历史中,伴随着外国戏剧的译介,出现了大量的改译剧。大体说来,改译剧有三个高潮,即文明戏时期、二十年代、三四十年代。改译剧在现代话剧剧本创作中起到过重要的示范作用,它所承载的救亡图存的爱国主义精神和西方的启蒙思想给当时封闭沉闷的社会带来新的气息,它在如何对待外来文化和本土文化的冲突和融合方面做了许多有价值的探索。但长久以来,戏剧界都存在着轻改译重创作的倾向,对改译这一重要的戏剧现象缺乏比较全面、系统的整理和研究。虽然现在改译已经不是译介外国戏剧方式的主流了,但在当前情况下,它对我们如何更好地译介外国戏剧还是有重要的启示意义的。本文除引言和结语外,共分三个部分。第一章介绍改译剧的发展背景及概况。文明戏时期的改译,是在传统文学处于中心地位的文化背景下出现的,主要有春柳派改译的日本新派剧、莎剧改译剧和文人的改译剧。二十年代的改译,在翻译文学占据中心地位的文化背景下,兴起了上海戏剧协社、复旦剧社、南开新剧团等爱美剧社团的改译剧。三四十年代的改译分两部分,一是左翼文学的文艺大众化时期,有左翼改译剧、河北定县农村戏剧实验中的改译剧和中国旅行剧团等职业剧团的改译剧;二是抗战时期文学的民族化形势下,掀起了抗战初期及大后方的改译剧和上海孤岛、沦陷时期的改译剧的热潮。第二章讨论了改译剧的文本选择。首先是主流意识形态对改译剧文本选择的影响,论述中国近现代社会救亡图存、思想启蒙两大主流意识形态对改译剧文本选择的操控。另一方面是主流诗学对改译剧文本选择的影响,分别分析了文明戏时期和现代话剧时期,浪漫主义戏剧和现实主义戏剧主潮对改译剧文本选择的制约,以及对当时戏剧创作的推动。第三章研究改译剧的改译策略,基本分为三种策略方法:一是民族化的改译,这种改译对原作的改动幅度较大,完全本土化了;二是基本忠实于原著的改译,这种改译保留了原著的基本面貌,人名、地名中国化,改动的幅度较小;第三种为精神上中国化的改译,这种改译保持了原著的洋装洋貌。本章通过对这三类改译文本在内容、形式、风格方面的改动的具体分析,分别论述了采用这类改译策略的原因,以及其背后的文化意义。
[Abstract]:In the history of the development of Chinese modern drama, with the translation and introduction of foreign drama, a large number of revised drama appeared. Generally speaking, there are three climaxes, namely, the civilized period, the 1920s, and the 1930s and 1940s. The revised translation of drama has played an important role in the modern drama script creation. Its patriotic spirit of saving the nation and the enlightenment thought of the West brought a new flavor to the closed and dreary society at that time. It has made many valuable explorations on how to deal with the conflict and fusion of foreign culture and native culture. For a long time, however, there is a tendency in the field of drama to change translation and emphasize creation, which is lack of comprehensive, systematic arrangement and research on this important phenomenon of drama. Although it is no longer the mainstream of the translation of foreign drama, it is still of great significance to us in how to better translate and introduce foreign drama in the present situation. In addition to the introduction and conclusion, this article is divided into three parts. The first chapter introduces the background and general situation of the revised drama. During the period of civilized drama, the translation of Japanese New School, Shakespeare's and literati's translation drama appeared under the cultural background of traditional literature's central position, including the Japanese New School Drama changed by Chunliu School, Shakespeare's Opera and literati's Translation Drama. In the 1920s, under the cultural background of the central position of translation literature, the Shanghai Drama Association, the Fudan Drama Society, the Nankai New Drama Troupe, and other American opera associations began to change their translations. In the 1930s and 40s, the translation was divided into two parts: one was the period of literature and art popularization of left-wing literature, there were left-wing translation plays, Hebei Dingxian rural drama experiment and professional drama troupe such as China Travel Theatre Troupe. The second is the nationalization of literature during the War of Resistance against Japan, which set off the upsurge of retranslation dramas in the early stage of the War of Resistance against Japan and in the rear areas and the isolated islands of Shanghai, and in the period of the fall of the Japanese War. The second chapter discusses the choice of the text of the revised drama. Firstly, it discusses the influence of the mainstream ideology on the choice of the text of the revised drama, and discusses the manipulation of the two major ideologies on the choice of the text of the revised drama. On the other hand, the influence of the mainstream poetics on the choice of the text of the revised drama is analyzed, which respectively analyzes the constraints of the trend of romantic drama and realistic drama on the choice of the text of the revised drama during the period of civilized drama and the period of modern drama. And the promotion of drama creation at that time. The third chapter studies the translation strategy of the retranslation drama, which can be divided into three strategies: one is the nationalization of the original, the original is completely localized; The second one is basically faithful to the original translation, which retains the basic features of the original work, such as the name of the person, the localization of the place name, and the small extent of the change; the third is the spiritual Chinese version, which maintains the original Western-style appearance. Based on the analysis of the changes in content, form and style of these three revised versions, this chapter discusses the reasons for adopting these strategies and the cultural significance behind them.
【学位授予单位】：上海戏剧学院
【学位级别】：博士
【学位授予年份】：2009
【分类号】：I207.3;I046;H059

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