本文關鍵詞：論“五四”時期戲劇翻譯的策略及其對中國話劇發(fā)展產(chǎn)生的意義，由筆耕文化傳播整理發(fā)布。

論“五四”時期戲劇翻譯的策略及其對中國話劇發(fā)展產(chǎn)生的意義

[1] [2]

《Foreign Languages and Their Teaching》

南京農(nóng)業(yè)大學外國語學院,江蘇南京210095

文章摘要：本文梳理了“五四”時期戲劇翻譯策略意識的形成過程，探究策略選擇背后的戲劇發(fā)生學原因，同時通過個案分析相應的譯本對中國現(xiàn)代話劇產(chǎn)生的影響，從而說明話劇現(xiàn)代化發(fā)展與民族化趨勢的共存以及兩者之間的張力。“五四”時期的戲劇翻譯已經(jīng)脫離直覺的指引，而是在認識不同策略的必要性之后，在明確的目的意識指引下進行翻譯。當時占主流的翻譯策略是直譯，但舞臺演出又要求使用改譯本。從戲劇發(fā)生學視角來看，直譯的劇本為創(chuàng)建話劇新文體提供了范本。演出改譯的劇本則促進了穩(wěn)固的話劇觀眾群的形成�！爸弊g”背后蘊含的“現(xiàn)代化”趨勢以及改譯背后的“民族化”動力共同存在，，兩者之間存在矛盾和張力，但又互相促進。

Abstr：Reviewing the formation of consciousness of the strategies of drama translation in the May Fourth period, this paper explores the underlying reasons for the choice of different strategies, and the impact of the corresponding translations on Chinese modem drama by case studies, to illustrate the coexistence and the tension between the modem development and localization of Chinese spoken drama. In the May-Fourth period, the need for different strategies was recognized generally. Drama translation was guided by a clear sense of translation purposes rather than the intuitive understanding of the acceptance of the audi- ence. In that period, the prevailing strategy was literal translation, but stage performance of foreign dramatic works required adaptation. Literal translations worked as models for the creation of a new literary genre while the performances of adaptations attracted Chinese audience and helped to form a constant audience. Literal translations indicated the tendency of modem development while adaptations indicated the momentum of localization. The tendency of modem development and the momentum of localization co-existed and promoted each other, although there was tension between them.

文章關鍵詞：

Keyword：:translation strategies new genre audience acceptance domestication

課題項目：本文是江蘇省教育廳高校哲學社會科學研究基金項目“譯介學視角下的中國早期話劇研究”（項目編號：2011SJD760011）和南京農(nóng)業(yè)大學人文社會科學研究基金項目“外國戲劇譯介與中國早期話劇”（項目編號：SK2011014）的階段性成果.

  本文關鍵詞：論“五四”時期戲劇翻譯的策略及其對中國話劇發(fā)展產(chǎn)生的意義，由筆耕文化傳播整理發(fā)布。