Lecture-5-Translation-of-Drama精讲

单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,*,Chapter 5 Translation of Drama,2.Characteristics of Drama Translation,2.1 For audience rather than for readers,Drama comprises chiefly of,dialogues,between characters and its final purpose is stage presentation(with closet drama as the only exception),so,it is mostly written,for audience,rather than readers.,.,例如李尔王最终一场戏里，老王双手托起小女儿的尸体上场，嘶喊道：,Howl,howl,howl,howl O,you are men of stones.,译文1：快哀号，快哀号，快哀号啊，你们是铁石人。孙大雨译本,译文2：号叫吧，号叫吧，号叫啊！你们是铁石人。卞之琳译本,译文3：哀号吧，哀号吧，哀号吧，哀号吧！你们都是铁石做的！杨世彭译本,Howl,howl,howl,howl O,you are men of stones.,译文1：快哀号，快哀号，快哀号啊，你们是铁石人。孙大雨译本,译文2：号叫吧，号叫吧，号叫啊！你们是铁石人。卞之琳译本,译文3：哀号吧，哀号吧，哀号吧，哀号吧！你们都是铁石做的！杨世彭译本,实际演出时，只见老王托着小女儿尸体上场，一边哀号，一边走向舞台正中，这拖长的四声号叫自有其必要。但从舞台演出效果而言，接连四声拖长的号叫，协作着老态龙钟的步伐，沉重地走向了舞台中心。比起“啊”来，开口音的“吧”声音更昂扬，留下更长的余音。细细品尝，觉察译文1和译文2不太适合舞台演出，而译文3传达出了原作的神韵。,Linda:Theres a little attachment on the end of it.I knew right away.And sure enough,on the bottom of the water heater theres a new little nipple on the gas pipe.,-Death of A Salesman,林达：管子的一头安着个接头儿。我一看就明白了。他预备用煤气自杀。,英假设城,林达：在橡皮管的一头有个小附件。我马上就明白了。果真，在烧水的煤气灶底肚上有个新的小喷头接在煤气管上。,陈良延,英假设诚“强调舞台直接效果”,英假设诚是我国著名戏剧演员及戏剧翻译家。他认为戏剧翻译应当为舞台演出效劳，翻译剧本不仅要语言自然、简洁，台词口语化，而且还要充分考虑到观众的承受心理和文化习惯，考虑到舞台演出的，而且演员也要使用剧本上的文字台词为观众表演。,I dont know what gets into me.,-Death of A Salesman,我不知道我是犯了哪股劲儿。英假设诚,Biff:What the hell do you know about it?,-Death of A Salesman,你懂个屁！英假设诚,2.2 No annotations allowed,The audio-visual quality of a drama determines that the audience at a performance has no access to footnotes or explanations.That is why the translated drama should also contain,no annotations,as it has to be understood directly and immediately.,戏剧翻译是为演出的，译者应尽量使用明白晓畅的文字来传达原文剧中人物的意趣，遇到习语典故，应尽量承受意译。,假设译文只是供人阅读的，那就可承受直译加注，如梁实秋先生译莎士比亚就是以直译为主，必要时加一些注解，“旨在引起读者对原文的兴趣“。,Willy:Thats why I thank Almighty God youre both built like Adonises.(Death of a Salesman),所以，我感谢上帝，你们俩都长得美男子似的。英假设诚 译,Adonis:阿多尼斯，一出世就俊美动人。爱神维纳斯对其一见钟情，把他交给冥后珀耳塞福涅抚养。阿多尼斯长大后，冥后也爱上了他，舍不得让他离开。两位女神互不相让，遂恳求主神宙斯裁决。后来，阿多尼斯外出狩猎时被野猪咬死。爱神闻讯痛不欲生，冥后深受感动，特许阿多尼斯的灵魂每年回阳世6个月，与爱神团聚。,中，鲍西亚让夏洛克割肉时警告他，只准割肉，不准流血，而且割下的肉不准多也不准少，要刚好一磅，她说：,“Or the division of the twentieth part,Of one poor scruple.”,Scruple是古罗马一个特殊小的重量单位，相当于1.296克。,方译为“二特殊之一丝”,朱译为“一丝一毫”,2.3,Common/colloquial language,Usually language in dramas is derived from daily life,so it is very common.In the process of drama translation,translators should make the lines,easier for the actors to perform on the stage,also,they should stand in the position of audience and make the language,easier to understand,.,戏剧语言，尤其是演出剧本的语言，必需通俗易懂，这是“由舞台性准备的，剧作家在创作时人物语言是适合舞台的，在翻译时，译者一方面要使译文的对白便于演员在台上说出；另一方面，要为观众着想，用于倾听的语言必需比供阅读的语言通俗易懂，更口语化”。,Incomplete and simple sentences,help to establish the playwrights colloquial style.If the translator wants to keep this style,he must make the characters speak simple language in his translation.,incomplete sentences,Example,:,吴祥子:逃兵，,是吧?,有些现大洋,想在北京藏起来，,是吧?,有钱就藏 起来,没钱就当土匪，,是吧？,老舍茶馆,吴祥子:逃兵，是吧?有些现大洋,想在北京藏起来，是吧?有钱就藏 起来,没钱就当土匪，是吧？,Wu Xiangzi:Deserters,right?Trying to hide in Beijing,with a few silver dollars in your pocket,right?When the money runs out,become bandits,right?英假设城,Wu Xiangziz:Youre deserters.Right?Youve scrapped a few silver dollars,and you want to hole up in Beijing.Right？If youve got money,you hole up;if you havent,you turn to banditry.Right?-Howard-Gibbon,Simple sentence structure,Example:,常四爷:是呀，您的视力不错!戊戌年我就在这说了句“大清国要完”，叫您二位给抓了走，坐了一年多的牢!,宋恩子:您的记性可也不错!混得还好吧?,老舍茶馆,Chang:Yes,you have a good memory.In 1898 I made the remark here,“the Great Qing Empire is about done for!”For that I was arrested by you two,and imprisoned for more than a year!,Song Enzi:Your memorys not bad either.Doing all right these days?,英假设城,Fourth Elder Chang：It is.Your eyesights fine.I was arrested by you gentlemen here in 1898,and spent more than a year for saying that“the Great Qing Empire is about done for”.,Song Enzi:You have a remarkable memory.Life treating you well these days?,-Howard-Gibbon,2.4.Poetic Language,19世纪末之前的西方戏剧大都是以诗歌写成的。剧作家特殊讲究语言文字的精练美丽，留意语言的韵律和节奏。例如莎士比亚的剧作奥赛罗中的一段：,O balmy breath,that dost almost persuade,Justice to break her sword!One more,one more!,Be thus when thou art dead,and I will kill thee,And love thee after.One more,and thats the last!,So sweet was neer so fatal.I must weep,But they are cruel tears.This sorrows heavenly;,It strikes where it doth love.,啊，甘美的氣息！你幾乎誘動公正的心，使她折斷她的利劍了！再一個吻，再一個吻。願你到死都是這樣；我要殺死你，然後再愛你。再一個吻，這是最後的一吻了；這樣銷魂，卻又是這樣無比的慘痛！我必須哭泣，然而這些是無情的眼淚。這一陣陣悲傷是神聖的，因為它要懲罰的正是它最疼愛的。,这一段台词是用无韵体诗写成的，短短的几行文字便细腻生动地刻画出奥赛罗在杀妻前爱恨穿插的简洁情感，叩人心扉，感人至深。,2.5.Rhetoric Devices,艺术的创作既来源于生活，又高于生活，戏剧创作也不例外。戏剧语言是日常语言的提纯和精练。剧作者常常穿插使用多种修辞手段来加强语言的艺术韵味。例如莎士比亚名剧哈姆雷特中的一段：,King:But now,my cousin Hamlet,my son.,Hamlet:(Aside)A little more than kin,and less than kind!,King:How is it that the clouds still hang on you?,Hamlet:Not so,my lord.I am too much i the sun.,Hamlet,Act I,Scene II.,“kin”是“亲戚”，谐音“kind”是“亲善”、“友爱”。kin和 kind 是双声。此句音调工整，意味深长。哈姆莱特在旁白里说：比亲戚多一点原来我是你的侄子，现在又成了你的儿子，确实不是一般的亲戚关系啊；然而却比kind 少一点kind有两层意思，一是“同类相求”的亲近感，一是“与人为善”的善意感，我同你没有共同语言，我也