劇場(chǎng)翻譯及電影改編

前言

　　When Robert Wechsler wrote his highly acclaimed study on literary translation，Performing Without a Stage （Wechsler， 1998）， he was not specifically thinking oftheatre. He speaks of actors interpreting the work of the playwright and of singersinterpreting the work of the songwriter， thus establishing through performancethat their own work is an art. The translators problem is that he is a performerwithout a stage， an artist whose performance looks just like the original， just likea play or a song or a composition， nothing but ink on a page （Wechsler， 1998： 7）.It is my belief， however， that theatrical translation should be intended preciselyfor performance. If a play translation is nothing but ink on a page， it is not theatre（performance text）. If it is published and read， it may be considered drama （literarytext）， and Wechslers excellent observations on literary translation will apply. Evenif the translators contribution to the production remains invisible to someobservers， theatrical translators， like playwrights， need to perform with a stage.Marion Peter Holt， the foremost translator of contemporary Spanish theatre inthe United States， affirms that performability has been the prime aim of everyplay he has translated， with publication perhaps coming after performance （Holt，2002， personal communication）. In Performing Without a Stage， Wechsler makes one reference to Moli6reand several to Shakespeare， but he generally concentrates on thetranslation of novel and poetry. In this respect， his book is similar to thevast majority of studies in the field. Theory of literary translation hascentered on these genres. In Translating Literature： Practice and Theory in aComparative Literature Context （Lefevere， 1992）， Andr6 Lefevere includes374 books and articles in his Suggestions for Further Reading; in onlysix of these titles is drama specifically mentioned. Prefacing her discussionof the subject in the first edition of her Translation Studies （Bassnett-McGuire， 1980： 120）， Susan Bassnett identifies theatre as one of the mostneglected areas; given her own strong interest in the subject， she gives totheatre some 12 pages of her 53-page chapter on literary translation.

內(nèi)容概要

大部分翻譯論著關(guān)注的是敘事性文學(xué)作品和詩(shī)歌的翻譯，本書則將舞臺(tái)交給了劇本和劇場(chǎng)翻譯。書中的觀點(diǎn)和建議是作者菲莉斯·查特林基于她之前的研究和將西班牙語(yǔ)和法語(yǔ)劇目譯成英語(yǔ)的實(shí)踐經(jīng)驗(yàn)，并結(jié)合問卷調(diào)查收集到的各國(guó)不同語(yǔ)種劇場(chǎng)翻譯者的見解提出來的。她對(duì)業(yè)內(nèi)常見的請(qǐng)不識(shí)原文的劇作家根據(jù)譯本改編外國(guó)劇目等現(xiàn)象提出了自己的看法，也介紹了西歐和美國(guó)一些劇場(chǎng)翻譯者的合作交流活動(dòng)。本書的獨(dú)到之處還在于探討了雙語(yǔ)劇場(chǎng)、舞臺(tái)劇及電影的字幕和配音。舞臺(tái)劇目改編成電影的問題同樣鮮見于有關(guān)電影改編的論著，而作者則對(duì)一些將舞臺(tái)劇“翻譯”成電影視覺語(yǔ)言的成功策略給予特寫。

作者簡(jiǎn)介

菲莉斯·查特林（P11yllis  Zatlin），兩班牙語(yǔ)教授，美國(guó)羅格斯大學(xué)翻譯培訓(xùn)項(xiàng)目協(xié)調(diào)人。她是Estreno期刊副主編，《西歐舞臺(tái)》撰稿編輯，以及EsTRENO Plays 翻譯系列主編。

書籍目錄

Preface1  In Theatrical Translation, There is No Lack of Conflict2  Out of the Shadows: The Translators Speak for Themselves3  Networking: Collaborative Ventures4  Practical Approaches to Translating Theatre5  Variations on the Bilingual Play Text6  Titling and Dubbing for Stage and Screen7  On and Off the Screen: The Many Faces of Adaptation8  From Stage to Screen: Strategies for Film AdaptationAppendix: Questionnaire for Theatrical TranslatorsBibliographyIndex

章節(jié)摘錄

　　Whose play is it anyway？ asks an article on the war of the translators in aMarch 2003 issue of The Guardian （Logan， 2003）. In his feature on the subject，Brian Logan cites the time-honoured belief that the best theatrical translatorswere invisible. The more faithful they were to the original text， the morethey remained in the shadows. British theatre-goers have long been familiarwith such great foreign playwrights as Moli6re， Chekhov and Garcia Lorcabut traditionally have had no idea whose translation they were hearing. Thatsituation has been changing in the United Kingdom and， to a lesser extent， inthe United States because of what Logan calls the recent controversial eclipseof the academic-translator by the playwright-translator.1 It is not intendedthat a playwright-translator be invisible nor that there be a faithful translation.An author is invited to do an adaptation with the thought that another famousname in the publicity will help sell the production. Often the playwright doesnot know the language of the original text but is given someone elses literaltranslation as a point of departure for his or her creative work. The translatorwho produces that original script is now doubly invisible： generally by-passednot only on the play programme but， having been paid a flat fee， also in thedistribution of royalties if the play is a hit. Logan interviews a number of people in Great Britain on both sidesof the controversy. The response he attributes to Philippe Le Moine isstartling. Le Moine， who runs the National Theatre Studios translationproject， is quoted as encouraging playwrights without knowledge offoreign languages while rejecting bona fide translators.2 Logan statesthat Le Moine does so because of commercial pressure. Apparentlyspectators， who for centuries did not object to invisible translators，now demand famous adapters.

圖書封面

圖書標(biāo)簽Tags

無

評(píng)論、評(píng)分、閱讀與下載

---

    劇場(chǎng)翻譯及電影改編 PDF格式下載

---