戏剧符号学与戏剧翻译
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摘要
戏剧翻译是文学翻译的一个重要组成部分,但是由于戏剧本质的二元性,给戏剧翻译者们提出了一个重要问题：翻译戏剧是应以阅读为中心还是应以表演为依据呢?对这个问题的探讨自有戏剧翻译以来,从未停止过。戏剧符号学是一门萌芽于20世纪初结合了结构语言学和形式主义文学批评的学科。它的诞生与确立对戏剧研究领域是一场革命,几乎从根本上改变了传统的戏剧批评理念与方法,在戏剧界和学术界都有着重大而深远的影响。因此本文把戏剧符号学理论引入戏剧翻译领域,以《推销员之死》两个中译本为语料,对戏剧翻译究竟以阅读为中心还是以表演为中心的问题做出了回答。同时作者希望通过本文的探讨,能够引起更多人对于戏剧翻译领域的关注。
首先,本文的理论依据为：戏剧符号学把戏剧看作是一个完整系统符号系统。但由于戏剧的特质,这一符号系统应包括文本符号系统和演出符号系统。文本符号系统就是作为一剧之本的文学符号；演出符号系统是文本符号转变为舞台意象符号。文本符号就是台词和文字说明,而演出符号按照波兰符号学家柯赞的分类法,包括两个大的符号群下十三个符号系统。虽然戏剧符号学被更多用于戏剧表演的分析。但是,文本符号系统仍然是戏剧符号学的根基,因此把戏剧符号学引入戏剧翻译的探讨成为一种可能。其次,本文的分析方法是通过把文本符号系统和演出符号系统的意指过程,引入戏剧翻译的讨论,这一分析过程是基于所选语料的十三个符号系统的例证分析,从而使戏剧翻译走出阅读和表演两难的境地,同时把戏剧符号学对戏剧翻译的解释力从可能性变为现实性。最后,本文从戏剧符号学对戏剧翻译的意义出发,总结了戏剧符号学的优势在于把戏剧翻译从戏剧本质的二元性中解放出来,并指出了该理论今后的发展方向和应用领域。
本文主要分为四个章节：1)结构纲要,2)戏剧符号学理论简介,3)十三个戏剧符号系统在《推销员之死》两个中译本中的应用,4)结论。通过十三个戏剧符号系统的例证分析,我们相信在不久的将来戏剧符号学将会成为戏剧翻译批评的重要理论之一。
Theatre translation is an important type of literary translation. However a question is always challenging the translator:should theatre translation be reader-oriented or performance-oriented owing to the dualistic nature of theatre. It never has gone into the consistency since the theatre translation appeared. The theatre semiotics theory belongs to the embranchment of linguistics of structuralism and the externalism of literary criticism, which began in the early of 20th century. The establishment of the theatre semiotics was a revolution to the theatre criticism both in text and performance. It almost changed the conventional approach and methodology on the theatre studies, which produced a great significance in both theatre circle and academic circle.
Therefore by applying theatre semiotics theory, this thesis attempts to analyze the specific applications in two Chinese versions of Death of a Salesman, so as to make a response to the question mentioned above and to arouse the attention of people in this field.
Firstly the theory foundation of this thesis should be illustrated. According to theatre semiotics theory; theatre signs should be divided into text signs and performance signs. The text signs are the literary signs (i.e., the playbook) including the lines and the illustrative words. The performance signs are the image signs transmitted by the text signs when the theatre is played. The performance signs are coded into thirteen subsystems within two systems according to the classification of Kozwan. Though the theatre semiotics theory is usually used as a tool to direct the performance, it is reasonable for us to explore the theatre translation with it because literary text lays the foundation of this theory.
Secondly the approach of this thesis can be used that it attempts to explore the theatre translation through applying the signifying process between the text signs and performance signs in order to got out from under in translating theatre. Meanwhile it will make the theatre semiotics a reasonable theory to the theatre translation from the possibility into reality.
Finally the thesis concludes the advantageous of the theatre semiotics theory for the theatre translation, which sets it free from problem of the dualistic nature of the theatre, and confirms the direction of the development and applied areas in the future.
There are four chapters in this thesis:1) the introduction to the thesis,2) the overview of theatre semiotics theory,3) the applications of thirteen systems of theatre signs with the comparison of two Chinese versions of Death of a Salesman,4) the conclusion. Through the practical analysis of examples within thirteen systems of theatre signs, we have the confidence that the theatre semiotics theory will become one of critical approaches in theatre translation in the near future.
首先,本文的理论依据为：戏剧符号学把戏剧看作是一个完整系统符号系统。但由于戏剧的特质,这一符号系统应包括文本符号系统和演出符号系统。文本符号系统就是作为一剧之本的文学符号；演出符号系统是文本符号转变为舞台意象符号。文本符号就是台词和文字说明,而演出符号按照波兰符号学家柯赞的分类法,包括两个大的符号群下十三个符号系统。虽然戏剧符号学被更多用于戏剧表演的分析。但是,文本符号系统仍然是戏剧符号学的根基,因此把戏剧符号学引入戏剧翻译的探讨成为一种可能。其次,本文的分析方法是通过把文本符号系统和演出符号系统的意指过程,引入戏剧翻译的讨论,这一分析过程是基于所选语料的十三个符号系统的例证分析,从而使戏剧翻译走出阅读和表演两难的境地,同时把戏剧符号学对戏剧翻译的解释力从可能性变为现实性。最后,本文从戏剧符号学对戏剧翻译的意义出发,总结了戏剧符号学的优势在于把戏剧翻译从戏剧本质的二元性中解放出来,并指出了该理论今后的发展方向和应用领域。
本文主要分为四个章节：1)结构纲要,2)戏剧符号学理论简介,3)十三个戏剧符号系统在《推销员之死》两个中译本中的应用,4)结论。通过十三个戏剧符号系统的例证分析,我们相信在不久的将来戏剧符号学将会成为戏剧翻译批评的重要理论之一。
Theatre translation is an important type of literary translation. However a question is always challenging the translator:should theatre translation be reader-oriented or performance-oriented owing to the dualistic nature of theatre. It never has gone into the consistency since the theatre translation appeared. The theatre semiotics theory belongs to the embranchment of linguistics of structuralism and the externalism of literary criticism, which began in the early of 20th century. The establishment of the theatre semiotics was a revolution to the theatre criticism both in text and performance. It almost changed the conventional approach and methodology on the theatre studies, which produced a great significance in both theatre circle and academic circle.
Therefore by applying theatre semiotics theory, this thesis attempts to analyze the specific applications in two Chinese versions of Death of a Salesman, so as to make a response to the question mentioned above and to arouse the attention of people in this field.
Firstly the theory foundation of this thesis should be illustrated. According to theatre semiotics theory; theatre signs should be divided into text signs and performance signs. The text signs are the literary signs (i.e., the playbook) including the lines and the illustrative words. The performance signs are the image signs transmitted by the text signs when the theatre is played. The performance signs are coded into thirteen subsystems within two systems according to the classification of Kozwan. Though the theatre semiotics theory is usually used as a tool to direct the performance, it is reasonable for us to explore the theatre translation with it because literary text lays the foundation of this theory.
Secondly the approach of this thesis can be used that it attempts to explore the theatre translation through applying the signifying process between the text signs and performance signs in order to got out from under in translating theatre. Meanwhile it will make the theatre semiotics a reasonable theory to the theatre translation from the possibility into reality.
Finally the thesis concludes the advantageous of the theatre semiotics theory for the theatre translation, which sets it free from problem of the dualistic nature of the theatre, and confirms the direction of the development and applied areas in the future.
There are four chapters in this thesis:1) the introduction to the thesis,2) the overview of theatre semiotics theory,3) the applications of thirteen systems of theatre signs with the comparison of two Chinese versions of Death of a Salesman,4) the conclusion. Through the practical analysis of examples within thirteen systems of theatre signs, we have the confidence that the theatre semiotics theory will become one of critical approaches in theatre translation in the near future.
引文
Aaltonen, Sirkku. Time-Sharing on Stage:Drama Translation in Theatre and Society. Clevedon:Multilingual Matters Ltd.,2000.
Bassnet, Susan. "Still Trapped in the Labyrinth:Further Reflections on Translation and Theatre" Constructing Cultures—Essays on Literary Translation. Shanghai: Shanghai Foreign Language Education Press,2001.
Deng, Di.[邓笛],英若诚对中国戏剧翻译理论的影响.艺术百家,2008(02)：149-151.
Ding, Hegen.[丁和根],戏剧艺术符号结构系统分析.戏剧,2000,(4)：101-107.
Dong, Jian and Ma, Junshan.[董健、马俊山],话剧艺术十五讲.北京：北京大学出版社,2004.
Du, Jun.[杜隽].符号学与当代戏剧理论.戏剧艺术,1991(04)：87-95.
Duan, Yan.[段燕].戏剧翻译标准的几点思考,2007(04)：68-70.
Elan, Keir, The Semiotics of Theatre and Drama. Methuen,1980.
Eugen A. Nida. Language and Culture—Contexts in Translating. Shanghai:Shanghai Foreign Language Education Press,2001.
Feng, Zongxin.[封宗信],文学语篇语用文体学研究.北京：清华大学出版社,2002.
Ferdinand De Saussure (Swiss), Course in General Linguistics. Beijing:China Social Sciences Publishing House,1999.
Gong, Baorong.[宫宝荣],于贝斯菲尔德著.戏剧符号学译本.北京：中国戏剧出版,2004.
He, Ziran.[何自然],语用学与英语学习.上海：上海外语教育出版社,1997.
Hu Miaosheng.[胡妙胜],戏剧符号学导引.戏剧艺术,1986(01)：33-49
Kowzan, Tedeusz. Semiologie du Theatre. Nathan Universite,1986.
Kowzan, Tedeusz. Litterature et Spectacle. La Haye:Mouton,1970.
Ladislav Matejka and Iriwin R. Titurik. Art Semiotics. Boston:Massachusetts Institute of Technology Press,1976.
Li, Xiuyun and Sun, Minghui.[李秀云,孙明慧],戏剧艺术的符号学解读.松辽学刊,2001(06)：47-49.
Li, Yaji and Feng,Weinian.[李基亚、冯伟年],论戏剧翻译的原则和途径.西北大学学报,2004(07)：161-165.
Liu, Guilian.[刘桂莲],戏剧翻译要素质问.绥化学院学报,2005(06)：144-146
Bobes, Naves. Semoologia de la obra Dramatic. Madrid:Taurus,1987.
Miller, Arthur. Death of a Salesman. New York:The Viking Press, Inc.,1949.
Newmark, Peter. Paragraphs on Translation. Clevedon:Multilingual Matters Ltd., 1993.
Ubersfeld, Anne. Lire le Theater. Paris:Editions Sociales,1979.
Wang, Chenjie.[王晨婕],翻译目的论视角下戏剧的翻译—兼议《推销员之死》中译本.宁波广播电视大学学报,2007(04)：51-53.
Wang, Zhijiang.[王治江],社会符号学与翻译理论.天津：南开大学出版社,2003.
Wang, Zuoliang.[王佐良],“翻译中的文化对比”文化与交际.胡文仲主编.北京：外语教学与研究出版社,1984.
Wu, Lijing[吴礼敬],“左右为巫难”从《推销员之死》的两个译本谈翻译中的异化和归化.绥化学院学报,2007(01)：120-123.
Yao, Ke.[姚克],推销员之死译本.香港：今日世界出版社,1977.
Ying, Ruocheng.[英若诚],推销员之死译本.北京：中国对外翻译出版公司,1999.
Ying, Ruocheng.[英若诚],关于剧本的翻译(代序)英若诚译名剧五种.沈阳：辽宁教育出版社,2001.
Yu, Jianzhang and Ye, Shuxian.[俞建章、叶舒宪],符号：语言与艺术.上海：上海人民出版社,1988.
Yu, Liben.[袁立本],演出符号学导论.北京：中国广播电视出版社,2009.
Xiong, Tingting.[熊婷婷],论巴斯奈特的戏剧翻译观.西华师范大学学报,2006,(06)：130-134
Xiong, Tingting.[熊婷婷],从功能派角度看话剧翻译.西南科技大学学报,2007(01)：56-60
Xu, Jun.[徐珺],重读《茶馆》—之戏剧符号学话语分析.上海戏剧,2003(02)：42-44.
Zhang, Fayong.[张发勇],论戏剧话语动作性的翻译.无锡商业职业技术学院学报,2008,(2)：103-105.
Zhang, Geng.[张耘],现代西方戏剧名家名著选评.北京：外语教学与研究出版社,1999.
Zhang, Jin.[张今],文学翻译原理.郑州：河南大学出版社,1994.
Zhang, Xinhong and He, Ziran.[张新红、何自然],语用翻译：语用学理论在翻译中的应用.现代外国语,2001(3)：34-38.
Zhou, Chunyu.[周春雨],传统剧评与戏剧符号学剧评之比较.上海戏剧,2003,(1)：20-21
Zhu, Chaowei.[祝朝伟],浅论戏剧的翻译.四川外语学报,2002,(1)：110-112.
Bassnet, Susan. "Still Trapped in the Labyrinth:Further Reflections on Translation and Theatre" Constructing Cultures—Essays on Literary Translation. Shanghai: Shanghai Foreign Language Education Press,2001.
Deng, Di.[邓笛],英若诚对中国戏剧翻译理论的影响.艺术百家,2008(02)：149-151.
Ding, Hegen.[丁和根],戏剧艺术符号结构系统分析.戏剧,2000,(4)：101-107.
Dong, Jian and Ma, Junshan.[董健、马俊山],话剧艺术十五讲.北京：北京大学出版社,2004.
Du, Jun.[杜隽].符号学与当代戏剧理论.戏剧艺术,1991(04)：87-95.
Duan, Yan.[段燕].戏剧翻译标准的几点思考,2007(04)：68-70.
Elan, Keir, The Semiotics of Theatre and Drama. Methuen,1980.
Eugen A. Nida. Language and Culture—Contexts in Translating. Shanghai:Shanghai Foreign Language Education Press,2001.
Feng, Zongxin.[封宗信],文学语篇语用文体学研究.北京：清华大学出版社,2002.
Ferdinand De Saussure (Swiss), Course in General Linguistics. Beijing:China Social Sciences Publishing House,1999.
Gong, Baorong.[宫宝荣],于贝斯菲尔德著.戏剧符号学译本.北京：中国戏剧出版,2004.
He, Ziran.[何自然],语用学与英语学习.上海：上海外语教育出版社,1997.
Hu Miaosheng.[胡妙胜],戏剧符号学导引.戏剧艺术,1986(01)：33-49
Kowzan, Tedeusz. Semiologie du Theatre. Nathan Universite,1986.
Kowzan, Tedeusz. Litterature et Spectacle. La Haye:Mouton,1970.
Ladislav Matejka and Iriwin R. Titurik. Art Semiotics. Boston:Massachusetts Institute of Technology Press,1976.
Li, Xiuyun and Sun, Minghui.[李秀云,孙明慧],戏剧艺术的符号学解读.松辽学刊,2001(06)：47-49.
Li, Yaji and Feng,Weinian.[李基亚、冯伟年],论戏剧翻译的原则和途径.西北大学学报,2004(07)：161-165.
Liu, Guilian.[刘桂莲],戏剧翻译要素质问.绥化学院学报,2005(06)：144-146
Bobes, Naves. Semoologia de la obra Dramatic. Madrid:Taurus,1987.
Miller, Arthur. Death of a Salesman. New York:The Viking Press, Inc.,1949.
Newmark, Peter. Paragraphs on Translation. Clevedon:Multilingual Matters Ltd., 1993.
Ubersfeld, Anne. Lire le Theater. Paris:Editions Sociales,1979.
Wang, Chenjie.[王晨婕],翻译目的论视角下戏剧的翻译—兼议《推销员之死》中译本.宁波广播电视大学学报,2007(04)：51-53.
Wang, Zhijiang.[王治江],社会符号学与翻译理论.天津：南开大学出版社,2003.
Wang, Zuoliang.[王佐良],“翻译中的文化对比”文化与交际.胡文仲主编.北京：外语教学与研究出版社,1984.
Wu, Lijing[吴礼敬],“左右为巫难”从《推销员之死》的两个译本谈翻译中的异化和归化.绥化学院学报,2007(01)：120-123.
Yao, Ke.[姚克],推销员之死译本.香港：今日世界出版社,1977.
Ying, Ruocheng.[英若诚],推销员之死译本.北京：中国对外翻译出版公司,1999.
Ying, Ruocheng.[英若诚],关于剧本的翻译(代序)英若诚译名剧五种.沈阳：辽宁教育出版社,2001.
Yu, Jianzhang and Ye, Shuxian.[俞建章、叶舒宪],符号：语言与艺术.上海：上海人民出版社,1988.
Yu, Liben.[袁立本],演出符号学导论.北京：中国广播电视出版社,2009.
Xiong, Tingting.[熊婷婷],论巴斯奈特的戏剧翻译观.西华师范大学学报,2006,(06)：130-134
Xiong, Tingting.[熊婷婷],从功能派角度看话剧翻译.西南科技大学学报,2007(01)：56-60
Xu, Jun.[徐珺],重读《茶馆》—之戏剧符号学话语分析.上海戏剧,2003(02)：42-44.
Zhang, Fayong.[张发勇],论戏剧话语动作性的翻译.无锡商业职业技术学院学报,2008,(2)：103-105.
Zhang, Geng.[张耘],现代西方戏剧名家名著选评.北京：外语教学与研究出版社,1999.
Zhang, Jin.[张今],文学翻译原理.郑州：河南大学出版社,1994.
Zhang, Xinhong and He, Ziran.[张新红、何自然],语用翻译：语用学理论在翻译中的应用.现代外国语,2001(3)：34-38.
Zhou, Chunyu.[周春雨],传统剧评与戏剧符号学剧评之比较.上海戏剧,2003,(1)：20-21
Zhu, Chaowei.[祝朝伟],浅论戏剧的翻译.四川外语学报,2002,(1)：110-112.