FromtheProspectiveofSkoposTheory英语专业毕业论文

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1、On Drama Translation From the Prospective of Skopos TheoryComment on Ying Ruochengs Translation of TeahouseOuyang Liao(Foreign Language Department, Hunan City University, Yiyang, Hunan 413000, China)Abstract: Drama is a special linguistic art targeting the stage and imbedded with cultural peculiarit

2、y. Consequently drama translation is expected to take both sides into consideration: ensuring the perform ability in target culture and transmitting properties of source culture. To fulfill these two functions, there appears a contradiction in adaptation and transmission. Only by determining the sko

3、pos of the translation of a drama can a translator skillfully solve the contradiction and approach the play with appropriate strategies. To illustrate the validity and exemplify the applicability of the skopos theory, the present paper gives an analysis of Ying Ruochengs translation of Teahouse with

4、in the framework of the theory, in the hope of finding some insights into the practice and the theoretical study of drama translation.Structurally, the paper consists of three chapters. Chapter One gives a general introduction to drama translation, including definition of drama, features of drama la

5、nguage, the contradiction in drama translation and a brief introduction of the skopos theory, Chapter Two provides information about the drama Teahouse, its the translator Ying Ruocheng and his translation. Chapter Three offers a tentative analysis of the translation of Teahouse under the guidance o

6、f the skopos theory. Then the last part draws a conclusion from the drama translation.Key words: drama translation; the skopos theory; Teahouse摘 要:戏剧是一门独特的语言艺术,以舞台演出为目的,同时蕴含着文化特质。因而戏剧翻译也应将这两方面考虑在内:既要保证译语文化环境中的可表演性,也要传递源语文化的典型矛盾。作者认为,只有对翻译目的进行准确界定,译者才能更好的应对这一矛盾,并采取适当的策略和方法进行剧本翻译。为了验证目的论在戏剧翻译的可行性和适应性,

7、本文运用该理论对英若成的话剧茶馆进行了透彻的分析,以期从其成功的翻译实践中找到有益启示。本文由三个章节构成。第一章对戏剧翻译进行概述,介绍了戏剧的定义,总结戏剧语言的特征,指出戏剧翻译中的矛盾,并简要介绍目的论。第二章介绍话剧茶馆译者英若成的译文及相关信息。第三章在目的论的框架内,运用五个具体的“翻译要求”对茶馆译文进行了详尽的分析。最后一部分总结了基于目的论的戏剧翻译。关键词: 戏剧翻译,目的论,茶馆2IntroductionThe study of drama translation is a comparatively less explored area characterized b

8、y a serious lack of theory to account for dramas special properties: a contradiction between adaptation and cultural transmission. Only through a careful investigation can some valuable suggestions be worked out to guide drama translation practice and study. Due to the difficulty in getting first-ha

9、nd materials about drama translation study made by western researchers, some enlightening ideas listed below are adopted from the collection and summary already made by other scholars. In this way, the author hopes to trace the main achievements of the study. In the west, drama translation started o

10、nly in the 1970s, and is still being explored at present. Some scholars do offer some talks on the topic. But scholars, observing drama as being designed for the stage, have long been discussing the “perform ability” of drama in translation. George Mounin notes that“effectiveness as a stage producti

11、on is more important for the translation than concerns for particular poetic or literary qualities”(Reiss 2004:45).Griffiths argues that “language is only one of the semiotic codes that constitute a theatrical performance” (Marco 2003:53). Therefore, just as has been advocated, the translator of a p

12、lay should possess both “linguistic skills” and “a sense of drama” (Marco 2003:53). However, under the influence of “cultural turn” in translation studies, some scholars began their observation from the perspective of culture. From the point of view of Poly system, the position a translated drama ta

13、kes up in target language is discussed (Baker 1985:72). Bassnett, although has frequently challenged the rationality of perform ability and held that “to render the text performable is not the responsibility of the translator”(Bassnett & Lefevere 2001:105), widens the horizon of drama translation st

14、udy by putting forward the concept of “acculturating” (Bassnett & Lefevere 2001: 92), which makes the study open to a new stage. Thus, adaptation for perform ability and cultural transmission have finally merged together in drama translation study, and it is high time that due attention should be gi

15、ven to the conflict in drama translation. However, up till now, there have rarely been any materials further devoted to the study concerning the resolution to the contradiction.In China, translation of western dramas started as early as the late 19th century and has been undertaken continuously for

16、more than a hundred years. It is under the influence of drama translation that Chinese modern drama made its appearance. However, in spite of the large-scaled translation practice, study of drama translation has long been ignored. Only a few translators have offered some insights according to their

17、personal practice. Bian Zhilin(卞之琳) explains several demands made on language in the preface to his translation of Hamlet. Among them, terseness and colloquialism are of great significance. By terseness, he means the avoidance of much annotation. And while colloquial modern Chinese is utilized, some

18、 Europeanized sentence patterns are maintained. Xu Yuanchong(许渊冲) once states that “plays are not only to be read, but also to be performed”(1986:717), and aims at stage performance.Apart from these unsystematic pieces of talks about experience without any theoretical guidance, few monographs have b

19、een produced on the problems of inter lingual translation of plays, except some short articles devoted to the discussion. In the face of the controversies, the present thesis aims at examining drama translation from a functional perspective, viewing the two aspects of the conflict with reference to

20、the purpose of the translation.Chapter 1Drama Translation and the Skopos Theory1.1Features of Drama TranslationAs a genre of literature, drama appears as a special and distinctive branch which has been defined by different scholars. More than an arrangement of words on pages,“it is an audiovisual pr

21、esentation of time and space, involving music, dance, fine arts and literary language, with the simultaneous presence of actors and audience” (林克欢 1993:4). It is “the genre of literature represented by works intended for the stage or a literary work performed by actors and actresses on stage, radio

22、or television” (萧立明2002:280). Therefore, drama is a comprehensive performing art which needs the interactions of movement, speech, scenery costume and music, and it is a literature whose impact depends on a collective endeavor of the playwright, directors and actors, and whose appreciation must be s

23、pontaneous and immediate. It is obvious that the commonly adopted medium in the two channels is language: dramatic text and speech. Generally speaking, dramatic text mainly consists of two basic parts: stage direction and dramatic dialogue. Stage direction refers to the stretches of description inte

24、nded to give an overall introduction of the visual and audio aspects on stage and to direct actors physical action. It ought to be formal in style and concise in language. Dramatic dialogue, the main body of a dramatic text, occupies the most part of a drama. It is usually through verbal interaction

25、s between characters that the plot gets advanced and the characterization gets realized. Taking all these requirements into account and especially considering stage performance, the most conspicuous features of dramatic dialogue can be summarized into speak ability and individuality. As a literary f

26、orm designed for stage performance, one of the fundamental problems in drama translation is how to adjust the source dramatic text to a foreign stage, that is, to ensure the “perform ability”. According to Backer (1985:51-52), perform ability means that theatrical needs are satisfied, and emotion is

27、 conveyed to audience within a certain time indirectly by actors rather than directly by the playwright himself. As to the dramatic text, its speak ability and individuality are the characteristics most contributing to the successful stage performance. As is widely known, due to different convention

28、s of stage and of language especially, to ensure perform ability a translator is supposed to make necessary adaptations to the target culture so as to make his translation also a “drama” in target language. Although an art for stage, drama, like every literary form, is unexceptionally endowed with t

29、he specificity of the culture it originates from. The development of drama is closely related to the development of a certain society. In other words, drama reflects within hours of performance the quintessence accumulated in a culture. Taking the above two demands into consideration, there emerges

30、in drama translation a contradiction: Given different conventions, to ensure the perform ability requires the adaptation to a new culture, which inevitably results in the loss of source culture to some extent; however, maintaining the original culture-bond elements is required in the meantime. In a

31、word, it is the contradiction between adaptation to stage performance and transmission of cultural features that always traps a translator in the dilemma when translating a dramatic text.1.2The Skopos Theory in Drama TranslationWith “skopos” as the determining element in translating action, and “ade

32、quacy” as the criterion of translation, the conflict in drama translation between adaptation to stage performance and cultural transmission can be observed rationally and solved justifiably. Initially, as every action is out of some purpose, in drama translation, the two points in the conflict are b

33、oth resulted from different purposes to be servedeither to guarantee the perform ability or to introduce culture. In other words, it is the matter of “adherence to source norms” or of “subscription to target norms” (Toury 2001:57).The relationship between them is in fact a reflection of the relation

34、ship between different purposes. It is indicated in skopos theory that every translating action has its particular skopos. Observing the conflict in drama translation, it can be viewed that the two points do not always keep a balance: It is either to obtain cultural properties, to make it played on

35、the stage, or, to be so ambitious as to capture both cultural features and perform ability. In other words, each of the above actions has different skopos. So drama translation can be classified into three types according to the functions it will play: translation for cultural introduction which emp

36、hasizes cultural features, translation for the stage which emphasizes performability, and translation for both cultural introduction and performance which is to coordinate both cultural features and perform ability. It is obvious that the last type is the most difficult to achieve, but it is meanwhi

37、le the most convincing one to illustrate how skopos theory works in the complicated case of drama translation. And the translation of Lao Shes drama Teahouse by Ying Ruocheng is the very work representing the third type. Chapter 2Teahouse for Sample AnalysisUp to the present, the specificity of dram

38、a and its translation has been expounded at the beginning, and a brief introduction to the skopos theory has been provided afterwards. In this chapter, relevant information will be offered about the object of sample analysisTeahouse chosen for its representative uniqueness in the case of drama trans

39、lation.2.1 Background of TeahouseThe three-act play Teahouse, written in 1957, is Lao Shes first play having been put on stage and introduced abroad. It is regarded as the best work of Lao She and is respected as the summit of realism in Chinese drama history. Through the events taking place in Yu T

40、ai Teahouse, he describes directly and indirectly the changes of the fate of people from the upper class to the lower class, such as the teahouse manager Wang Lifa(王利发), the enthusiastic advocator of national industrialization Qin Zhongyi(秦仲义), the upright Bannerman Master Chang(常四爷), the poor peasa

41、nt Kang Shunzi(康顺子) and other social dregs like the fortune-teller, the flesh merchant and the agents, so as to reveal the social and historical trends in the first half of the 20th century in China. The play begins in 1898 just after the failure of the Reform Movement led by Kang Youwei(康有为) and Li

42、ang Qichao(梁启超), proceeds through the early Republican period after the death of Yuan Shikai(袁世凯), and ends in the period of KMT domination after the victory of Anti-Japanese War. During the darkest fifty years in the history of modern China, people from all walks of life wander in and out of the te

43、ahouse-a microcosm of society, bringing with them their accounts of what is happening to them and their opinions of the happenings. Although the play is only made up of thirty thousand words, it depicts more than fifty characters and records the social changes in the fifty-year history, which expose

44、s social evils to the utmost, and points out the definite dying out of the old world. Therefore, it is called the work aiming at “burying three times”. This work, due to the strong and condense sense of history, the vividness and amiability of characters, and the clarity and individuality of convers

45、ations between characters, ever since its emergence, has not only been greatly honored by Chinese literary and art circles, and welcome by Chinese audience, but also gained international reputation through translation and performance.2.2 Ying Ruocheng and His Translation of TeahouseIn 1980, Beijing

46、Peoples Artistic Theatrical Group was invited to some western countries to give a tour-performance of Lao Shes drama Teahouse and achieved great success, which supplied foreign audience with the chance to “have some understanding of an absolutely strange nation and its history”. It is therefore reno

47、wned as “a mystery of the oriental theatre”. It should be noted that apart from the support at home and abroad as well as the effort of the crew, another factor accounting for the success is the successful translation of the drama, which broke the language barrier of communication. Ying Ruocheng, an

48、 outstanding drama translator as well as a famous actor and director, is just the translator who shouldered the heavy responsibility. As is claimed, “the translator of a play would need to have, in addition to his linguistics skills and his ability to gauge what is familiar or unfamiliar to his audi

49、ence, a sense of drama” (Marco 2003:53), Ying Ruocheng proves to be the one fairly suitable to the task. He captured the “sense of drama”-he had been involved in the performance of Teahouse for hundreds of times. Being an experienced actor and translator, Ying Ruocheng understood the drama Teahouse

50、more thoroughly than common readers, and got the acquisition of the genre of drama more profound than common translators. All these advantages equipped him with precious experience. Therefore it was natural for him to have accepted the task of translation at the end of 1970s before he visited Englan

51、d, the United States and other western countries in company with the dramatic group of Teahouse. In spite of the translators personal capability it should also be noted that the difficulty of translating such a drama is considerable: How does translator deal with the Chinese cultural elements deeply

52、 embedded? How does he transform the linguistic characteristics of Lao She? How does he help the foreign audience enjoy the drama? In a word, when translating, is it necessary for a translator to conform to some requirements? And what can justify the translators selection of translation strategy and

53、 methods? All these questions exist before a translator who starts his translation, and at the same time, they also remain as important motives when the translation evaluation is carried out. In a word, it was for the requirement of a tour performance of Teahouse in western countries in 1980 that Yi

54、ng Ruocheng was urged to “translate Teahouse, the famous work of Lao She into English in haste” (1999: 6). This is the first time that Chinese drama made its appearance on foreign stage. Moreover, it is also a precious opportunity for Chinese literature and art to display its new look and charm to t

55、he West shortly after China undertook the Reform and Opening policy. When the frozen state was broken in Chinese literature and art world, Beijing Peoples Artistic Theatrical Group was invited to the West. It was then the most influential and important group in China and the drama chosen for this pa

56、rticular occasion was Teahouse, a milestone in Chinas drama history and especially a masterpiece based on Chinese history and rich in Chinese culture. Therefore it is indicated that the performance of the drama Teahouse in the West was entrusted with the task of introducing Chinese history, culture

57、and the accomplishment in literature and art, which would help the westerners to better understand New China. In this sense, the “skopos” received by the translator requires the transmission of the features of Chinese culture contained in the drama, and at the same time the preservation of the drama

58、tic effect since it was to be enjoyed in the theater rather than read at home. Apparently, Ying Ruochengs successful practice proves the realization of the above skopos, and therefore, his translation is worthy of a careful study through which some insights into drama translation could be drawn.The

59、following chapter will be devoted to an analysis of Ying Ruochengs translation of the drama Teahouse in terms of the skopos theory, with the purpose of evaluating the translation which can illustrate the feasibility of the theory in drama translation.Chapter 3Detailed Analysis of the Translation of

60、TeahouseTo make the analysis more specific and clearer, the above skopos could be put into translation brief which provides the translator with more detailed guidance in translating. In order to be convenient in discussion, judging from different emphasisthe text functions, the reception factors and

61、 the transmission factors, the aspects of translation can be divided into the following three groups, (1) the (intended) text function(s), (2) the target text addressee(s), the (prospective) time and place of text reception, (3) the medium over which the text will be transmitted and the motive for t

62、he production or reception of the text. An analysis of Ying Ruochengs translation of Teahouse will be conducted according to the above categorization.3.1 The (Intended) Text Function(s)According to Reiss, another representative of skopos theory who advocates “text typology”, texts can be categorized

63、 according to the dominant communicative function into three types: the informative, the expressive and the operative. The main function of informative texts is to inform the readers about objects and phenomena in the real world. Expressive texts mean to produce an aesthetic effect on the reader. An

64、d operative texts are designed to achieve extra linguistic effect, especially a certain reaction in the audience. Texts, in most cases, do not necessarily correlate with just one text type, but even two or three culture. To handle the translation of dramatic dialogue and make it an instrument for th

65、e realization the operative function, is closely related to the condition of the target culture audience and the particular medium of drama. The following will be devoted to the discussion of Ying Ruochengs successful practice in the translation of dramatic dialogue in Teahouse.Example (1) “玩鸟的人,每天在遛够了画眉、黄鸟等之后,要到这儿歇歇腿,喝喝茶,并使鸟儿表演歌唱。商议事情的,说媒拉纤的,也到这儿来。那年月,时常有打群架的,但是总会有朋友出头给双方调解;三五十口子打手,经调解人东说西说,便都喝碗茶,吃碗烂肉面就可以化干戈为玉帛了”1This is the stage direction in Action One. Lao She creates in a fluent and delicate way a vivid picture in which a cast of

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