| Because of the complexity of the dramatic text, the study of drama translation has remained a relatively underdeveloped area. Yet the contribution of drama translations to the establishment and development of the spoken drama is tremendous. The discrepancy between great contributions drama translation has made to theatre and the underdevelopment of its study promotes me to take up the topic of analyzing Ying Ruocheng's theatre translations. With his unique background as veteran theatre professionals and the unprecedented translating process in which he works directly with the actor and director, I believe that Ying Ruocheng's translation is a typical stage-oriented drama translation and so is worth studying. After reviewing some theoretical discussions on a range of issues involved in drama translation, especially stage-oriented translation, I will try to discuss the responsibility of a theatre translator and his role in the theatrical system. Within the framework of the adaptation theory put forward by the Belgian pragmatician Verschueren, I try to examine Ying's theatre translations from a pragmatic point of view, based on the assumption that the receptor response is the decisive factor to the success of the stage performance. Therefore, I will approach Ying's stage-oriented drama translations from his adaptation for the audience as well as the actor. During this process I will try to sum up Ying's translation strategies and discuss the reasons for his language use. By doing so I hope the voice from the field will be taken into consideration seriously and contribute to the study of drama translation, because theoretical achievement cannot be made without in-depth and arduous empirical work.
|
PDF Full Text Request