《劇場翻譯及電影改編:一位實際工作者的觀點》將舞台交給了劇本和劇場翻譯。書中的觀點和建議是作者菲莉斯·查特林基於她之前的研究和將西班牙語和法語劇目譯成英語的實踐經驗，並結合問卷調查收集到的各國不同語種劇場翻譯者的見解提出來的。她對業內常見的請不識原文的劇作家根據譯本改編外國劇目等現象提出了自己的看法，也介紹了西歐和美國一些劇場翻譯者的合作交流活動。
基本介紹
- 書名：外教社翻譯碩士專業系列教材•筆譯實踐指南
- 出版社：上海外語教育出版社
- 頁數：222頁
- 開本：16
- 定價：32.00
- 作者：查特林
- 出版日期：2008年11月1日
- 語種：簡體中文, 英語
- ISBN：9787544610377
- 品牌：上海外語教育出版社
基本介紹,內容簡介,作者簡介,圖書目錄,文摘,序言,
基本介紹
內容簡介
《劇場翻譯及電影改編:一位實際工作者的觀點》的獨到之處還在於探討了雙語劇場、舞台劇及電影的字幕和配音。舞台劇目改編成電影的問題同樣鮮見於有關電影改編的論著，而作者則對一些將舞台劇“翻譯”成電影視覺語言的成功策略給予特寫。
作者簡介
菲莉斯·查特林（P11yllis Zatlin），兩班牙語教授，美國羅格斯大學翻譯培訓項目協調人。她是Estreno期刊副主編，《西歐舞台》撰稿編輯，以及EsTRENO Plays 翻譯系列主編。
圖書目錄
Preface
1 In Theatrical Translation, There is No Lack of Conflict
2 Out of the Shadows: The Translators Speak for Themselves
3 Networking: Collaborative Ventures
4 Practical Approaches to Translating Theatre
5 Variations on the Bilingual Play Text
6 Titling and Dubbing for Stage and Screen
7 On and Off the Screen: The Many Faces of Adaptation
8 From Stage to Screen: Strategies for Film Adaptation
Appendix: Questionnaire for Theatrical Translators
Bibliography
Index
1 In Theatrical Translation, There is No Lack of Conflict
2 Out of the Shadows: The Translators Speak for Themselves
3 Networking: Collaborative Ventures
4 Practical Approaches to Translating Theatre
5 Variations on the Bilingual Play Text
6 Titling and Dubbing for Stage and Screen
7 On and Off the Screen: The Many Faces of Adaptation
8 From Stage to Screen: Strategies for Film Adaptation
Appendix: Questionnaire for Theatrical Translators
Bibliography
Index
文摘
'Whose play is it anyway？' asks an article on 'the war of the translators' in aMarch 2003 issue of The Guardian （Logan, 2003）. In his feature on the subject,Brian Logan cites the time-honoured belief that the best theatrical translatorswere 'invisible'. The more faithful they were to the original text, the morethey remained in the shadows. British theatre-goers have long been familiarwith such great foreign playwrights as Moli6re, Chekhov and Garcia Lorcabut traditionally have had no idea whose translation they were hearing. Thatsituation has been changing in the United Kingdom and, to a lesser extent, inthe United States because of what Logan calls 'the recent controversial eclipseof the academic-translator by the playwright-translator'.1 It is not intendedthat a playwright-translator be invisible nor that there be a faithful translation.An author is invited to do an 'adaptation' with the thought that another famousname in the publicity will help sell the production. Often the playwright doesnot know the language of the original text but is given someone else's 'literaltranslation' as a point of departure for his or her creative work. The translatorwho produces that original script is now doubly invisible: generally by-passednot only on the play programme but, having been paid a flat fee, also in thedistribution of royalties if the play is a hit. Logan interviews a number of people in Great Britain on both sidesof the controversy. The response he attributes to Philippe Le Moine isstartling. Le Moine, who runs the National Theatre Studio's translationproject, is quoted as encouraging playwrights without knowledge offoreign languages while rejecting bona fide translators.2 Logan statesthat Le Moine does so because of 'commercial pressure'. Apparentlyspectators, who for centuries did not object to invisible translators,now demand famous adapters.
序言
When Robert Wechsler wrote his highly acclaimed study on literary translation,Performing Without a Stage （Wechsler, 1998）, he was not specifically thinking oftheatre. He speaks of actors interpreting the work of the playwright and of singersinterpreting the work of the songwriter, thus establishing through performancethat their own work is an art. 'The translator's problem is that he is a performerwithout a stage, an artist whose performance looks just like the original, just likea play or a song or a composition, nothing but ink on a page' （Wechsler, 1998: 7）.It is my belief, however, that theatrical translation should be intended preciselyfor performance. If a play translation is nothing but ink on a page, it is not theatre（performance text）. If it is published and read, it may be considered drama （literarytext）, and Wechsler's excellent observations on literary translation will apply. Evenif the translator's contribution to the production remains invisible to someobservers, theatrical translators, like playwrights, need to perform with a stage.Marion Peter Holt, the foremost translator of contemporary Spanish theatre inthe United States, affirms that performability has been the prime aim of everyplay he has translated, with publication perhaps coming after performance （Holt,2002, personal communication）. In Performing Without a Stage, Wechsler makes one reference to Moli6reand several to Shakespeare, but he generally concentrates on thetranslation of novel and poetry. In this respect, his book is similar to thevast majority of studies in the field. Theory of literary translation hascentered on these genres. In Translating Literature: Practice and Theory in aComparative Literature Context （Lefevere, 1992）, Andr6 Lefevere includes374 books and articles in his 'Suggestions for Further Reading'; in onlysix of these titles is drama specifically mentioned. Prefacing her discussionof the subject in the first edition of her Translation Studies （Bassnett-McGuire, 1980: 120）, Susan Bassnett identifies theatre as 'one of the mostneglected areas'; given her own strong interest in the subject, she gives totheatre some 12 pages of her 53-page chapter on literary translation.
