莎剧在中国传统戏曲中的归化与异化

论文摘要

莎士比亚,英国文艺复兴时期的诗人与剧作家,深为世人所熟知。而中国传统戏曲是世界三大古老戏剧艺术之一,是中华民族特有的一种综合性表演艺术。乍看起来,这两者似乎无甚相关。然而,随着莎士比亚作品在中国的传播日趋广泛,越来越多的莎剧被改编成戏曲开始上演,并且取得了很大成功。一般认为,莎士比亚戏剧和中国传统戏曲在语言、主题、结构和表演形式上有很多相似点,这也是戏曲莎剧改编成为可能并取得成功的基础。改编是形式最自由的一种翻译方法,或者说翻译是一个改写原作的过程。在这样的理论思想指导下,本文通过对莎士比亚名剧《哈姆雷特》在越剧与京剧中的两种不同形式的改编演绎进行比较,分析了目前戏曲改编莎剧的特点,从文学翻译的角度探索两种改编的方法——“中国化”和“西洋化”的特点,认为任何一种莎剧改编方法都是归化和异化的统一,从而试图探索翻译莎剧的方法。最后,本文不但讨论了目前戏曲莎剧改编存在的问题与不足,更阐述了戏曲改编莎剧的意义与前景。

论文目录

• Acknowledgements
• Abstract
• 中文摘要
• Introduction
• Chapter 1 General Review of Shakespeare’s Drama in China
• 1.1 Domestication and Foreignization in Translation
• 1.1.1 General Review
• 1.1.2 The Advantages and Limitations of Domestication and Foreinization
• 1.2 Translation of Shakespeare in China
• 1.2.1 Early Translations
• 1.2.2 Translations after the Foundation of New China in 1949
• 1.2.3 Translations after the Reform and Opening Policy of China
• 1.3 Adaptation of Shakespeare in Chinese Traditional Opera
• 1.3.1 Adapted Versions
• 1.3.2 Adapted Methods
• Chapter 2 Similarities between Shakespeare’s Drama and Chinese Traditional Opera
• 2.1 Features of Shakespeare’s Drama
• 2.1.1 Features in Language
• 2.1.2 Features in Theme
• 2.1.3 Features in Structure
• 2.2 Features of Chinese Traditional Opera
• 2.2.1 Features in Performance
• 2.2.2 Features in Structure：Opening Structure, Multi-plot
• 2.2.3 Features in Theme
• 2.3 Similarities between Shakespeare’s Drama and Chinese Traditional Opera
• 2.3.1 Similarities in Language
• 2.3.2 Similarities in the Form of Staging
• 2.3.3 Similarities in theme
• 2.3.4 Similarities in Structure
• Chapter 3 Domestication and Foreignization of Shakespeare’s Dramain in Chinese Traditional Opera
• 3.1 Introduction of Hamlet
• 3.2 The Shaoxing Opera Version of Hamlet
• 3.2.1 The Uniqueness of Shaoxing Opera
• 3.2.2 The Version of Hamlet
• 3.3 The Peking Opera Version of Hamlet
• 3.3.1 The Uniqueness of Peking Opera
• 3.3.2 The Version of Hamlet
• 3.4 Comparison on the Two Versions of Hamlet
• 3.4.1 The Treatment of Plot
• 3.4.2 The Personality of the Prince
• 3.4.3 The Ways of the Adaptation
• 3.5 Features of the Adaptation
• 3.5.1 The Main Methods of the Adaptation
• 3.5.2 Features of the Adaptation
• Chapter 4 Significance and Prospects of the Adaptation of Shakespeare’s Drama
• 4.1 Controversy over the Adaptation
• 4.2 Existed Problems of the Adaptation
• 4.2.1 How to Select the Plays Suitable for the Opera
• 4.2.2 How to Combine “Opera Flavor”and “Shakespearian Flavor”
• 4.2.3 How to Make the Adaptation Directly from the Original Plays
• 4.3 Significance of the Adaptation
• 4.3.1 To Promote the Culture Exchanges of the East and the West
• 4.3.2 To Popularize Shakespeare’s Drama
• 4.3.3 To Promote the Development of Chinese Traditional Opera
• 4.4 Prospect of the Adaptation of Shakespeare’s Drama in Chinese Traditiona Opera
• Conclusion
• Bibliography