It was born in the era of transition from literati-led drama creation to actor-led stage performance. Peking Opera is a unique theatrical form in China, combining music, dance, poetry, martial arts, painting and other art forms. The significance of Peking Opera lies in its stage performance If the value of a theater is more reflected in its stage performance, the translator should not shirk his or her responsibility and only translate the written text of little value, but should challenge the job that only “superman” can be qualified for. Pan and Zhang (2009) pointed out that the first step of stage translation study is to clarify the concept of the it and its particularity. However, we might be alert to this mode of translation that ignores stage performance, especially when the translation of stage performance takes place in different countries and faces a theater with a completely different tradition. These translators usually finish their works in a very short period of time (mainly providing the framework of the story and the cultural context of the script), and then hand the translation to the theater, where the director and actors adapt the translation to the actual demands of the stage performance, in which the translator's identity is barely visible ( Brodie, 2018). There are also translators who provide language services for stage productions. These translators focus on dealing with various language phenomena in the dramatic text, and strive to fully show the literary nature of the original works to please the readers. In China, famous translators usually choose to translate classical plays with high literary value, such as the Chinese translation of Shakespeare's plays ( Lv and Tang, 2002 Gu, 2019) and the English translation of the Peony Pavilion ( Zhang, 2014 Pan and Yang, 2017), etc. Such advocacy has been echoed by many scholars. Therefore, she advocates theater translation researchers to return to script translation and do the linguistic work that translators are good at, instead of interfering in the subsequent performance issues. Translating the performance is a job that she believes is completely beyond the translator's abilities and that “only a “Superman” can do it”. 92) points out that the ideal theatrical translator should be not only a language expert, but also a theatrical expert, as well as a director and an actor. After a failed attempt to deconstruct the underlying “action text” of the script, Bassnett (2001, p. Theater contains two aspects: script and stage performance, which greatly increases the difficulty of its translation. On this basis, the paper clarifies that the main tasks and challenges faced by translators engaged in Peking Opera stage translation which are they should not only translate the language but also need to find time and space to realize the transformation of the meaning of the non-verbal sign system. From the perspective of semiotics of theater and drama, this paper deconstructs the Peking Opera sign system and divides them into several subsystems, describes in detail the characteristics of each secondary system, especially their semiotization process, their manners of meaning transmission, the rules of interaction among them, and finally presents the meaning generation and communication mechanism of this “Performance Text”. Therefore, translators engaged in the stage translation of Peking Opera must understand the meaning and operation mechanism of this multi-sign system. However, the realization of the meaning of the “Performance Text” is the result of the joint action of different sign systems. Peking Opera is an artist-centered art rather than a director-centered one, and its true significance lies in its stage performance. School of Advanced Translation and Interpretation, Dalian University of Foreign Languages, Dalian, China.
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