话剧台词英译之言语行为理论观照 ——以《茶馆》及其两个英译本为例

论文摘要

中国话剧产生于20世纪初,是中国戏剧的一个特殊分支。话剧是一种主要依靠角色对话即台词展开故事情节并塑造人物形象的戏剧体裁,具有语言文学艺术和舞台表演艺术的双重特征。本文认为,话剧是一种特殊的言语行为。一方面,话剧是剧作家运用语言进行剧本创作,编造系列对话来呈现故事、展开情节、刻画人物,借以实现反映生活、颂扬真善美、揭露假恶丑、教化民众意图的一种间接地“以言行事”的行为。另一方面,话剧中的人物角色虽然栩栩如生,在实际生活中可能找到类似的原型,但他们个个都是剧作家头脑思维的产儿。剧中人物的语言尽管个性鲜明,活泼生动,实质上均为源于生活又高于生活的虚拟语言。换句话说,剧中角色言来语往,以言表情、以言表意、以言行事乃至以言取效的行为,其实只是一种准言语行为（quasi-speech act）。以人物话语对白为主要表现手段的话剧,是一种特殊形式的文学作品。因此,话剧除了具有一般文学作品的共性之外,还有其独有的特性（如舞台表演艺术特性）。在一定程度上,话剧中的角色话语意图的实现一方面受制于语言结构规约、文化规约、话剧艺术规约等,另一方面也受到剧作家创作意图的左右。要将中国话剧译成英语,译者,作为跨语言、跨文化的特殊“言语行为”者,既要遵从汉语语言结构规约、文化规约和话剧艺术规约,又要设法顺应英语语言结构规约、文化规约和英语戏剧艺术规约,同时还得在剧作家框定的有限活动空间内,根据极其有限的语境,细心领会剧中人物对话的交往意义和意向,努力分辨其话语意义与会话含义,争取既译出其言内之意,又体现其作为话语施为力量的言外之力,为目标读者（观众）顺畅理解剧情铺路搭桥。目前,不少学者已经从不同的理论视角对话剧台词与对白翻译进行了多方位的研究,但大部分研究都围绕话剧台词与对白翻译究竟应更加注重其文学性还是表演性展开和进行,对其作为特殊言语行为之特性缺乏应有的理论观照,这正是本论文的研究意义所在。本文以言语行为理论为指导,以《茶馆》及其两个英译本的对比分析为例证,试图从规约和意图这两个切入点分析作为特殊言语行为的中国话剧对白,探讨话剧翻译的有效途径,最终提出,只有充分考虑话剧对白这种特殊言语行为的语言规约力量和施为力量,对其加以仔细揣摩、全面理解与恰当转化,才能得到最优化的话剧翻译。本研究成果对于今后人们从事话剧翻译实践具有一定的参考价值和借鉴意义。

论文目录

• 摘要
• Abstract
• Introduction
• 0.1 Literature Review
• 0.2 Objective and Feasibility of the Research
• 0.3 Significance of the Research
• 0.4 Research Methodology
• 0.5 Layout of the Thesis
• Chapter 1 Speech Act Theory— Theoretical Guidance for the Present Study
• 1.1 Philosophical Background
• 1.2 Austin’s Contribution to Speech Act Theory
• 1.2.1 Dichotomy of Constatives and Performatives
• 1.2.2 Austin’s Trichotomy of Speech Acts and Classification of Illocutionary Acts
• 1.3 Searle’s Further Development of Speech Act Theory
• 1.3.1 Searle’s Division of Speech Act
• 1.3.2 Searle’s Classification of Speech Acts
• 1.3.3 Indirect Speech Acts
• 1.3.4 Concept of Meaning
• Chapter 2 Introduction to Modern Chinese Drama and a Representative Work Chaguan
• 2.1 Origin and Development of Modern Chinese Drama
• 2.2 About Chaguan—A Modern Chinese Drama Classic
• 2.2.1 A Brief Introduction of Lao She
• 2.2.2 Chaguan and Its Characters
• 2.2.3 Two English Versions of Chaguan
• 2.3 The Nature of Modern Chinese Drama and General Features of Its Language
• Chapter 3 Stage Lines in Modern Chinese Drama as Speech Acts
• 3.1 Stage Lines in Modern Chinese Drama
• 3.1.1 Stage Lines as Indirect Speech Acts of the Playwright
• 3.1.2 Stage Lines as Quasi-Speech Acts of the Characters
• 3.2 Stage Lines as Convention-Governed Intentional Speech Acts
• 3.2.1 Stage Lines with Conventional Forces of Speech Acts
• 3.2.2 Stage Lines with Intentional Forces of Speech Acts
• Chapter 4 Translation of Stage Lines in Modern Chinese Drama as Speech Acts
• 4.1 Conveyance of the Conventional Forces of Speech Acts in Stage Lines
• 4.1.1 Conveyance of the Conventional Forces of Speech Acts in Stage Lines at the Structural Level
• 4.1.2 Conveyance of the Conventional Forces of Speech Acts in Stage Lines at the Cultural Level
• 4.1.3 Conveyance of the Conventional Forces of Speech Acts in Stage Lines at the Level of Dramatic Art
• 4.2 Conveyance of the Intentional Forces of Speech Acts in Stage Lines
• 4.2.1 Conveyance of the Intentional Meaning of Stage Lines by the Playwright
• 4.2.2 Conveyance of the Intentional Meaning of Stage Lines by the Characters
• Conclusion
• Works Cited
• Acknowledgements
• Informative Chinese Abstract
• Résuméand Publications since Entering the Program