The role of the translator in British and German productions of Bulgarov's work

译者在布尔加洛夫作品的英国和德国作品中的作用

• 批准号: 2751694
• 金额: --
• 依托单位: University of Leeds
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2751694
• 关键词: role; translator; British; German; productions

It is only in recent years that translation scholarship has recognised theatre translation as a branch of Translation Studies, distinct from literary translation. While these two translation areas do share some characteristics, particularly the use of a creative source text (ST), the theatre translator must engage with the intended performative aspect of texts. The multimodal nature of their work requires complete understanding of both translation and performance practices. Therefore, a collaborative approach which allows the translator to share important linguistic and cultural information regarding the ST, while gaining first-hand knowledge from theatre practitioners on practical aspects of theatre performance, could benefit all parties in the creative process. Expanding upon the accepted performance convention of breaking the "fourth" wall, this study will introduce the breaking of what I propose as the "fifth" wall. Just as the "fourth" wall refers to the invisible wall between actors and audiences, the "fifth" wall here refers to the invisible wall between actors/directors/producers/audiences and translators. Most studies of theatre translation focus on a single target-language lingua-culture. My study would exploit this gap, by comparing the role of the theatre translator in British and German stage adaptations of translations of Mikhail Bulgakov's plays into English and German, respectively. This will allow for a greater understanding of British translation approaches to Russian theatre, by comparing them to another European society with an equally long-established tradition of staging foreign plays. This may allow for further comparative analyses, building a fuller picture of theatre translation practices across Europe and beyond.This project investigates how and to what extent the translator is involved in the creative process oftheatre production, and their level of visibility in this process. By analysing the works of a playwright whose works were banned under Stalin but found new audiences in the West after de-Stalinization, this will also tackle the issue of limited visibility of playwrights who are lesser known outside of Russia, on foreign stages.The process of moving from page to stage is multimodal. Therefore, research in this area should take this multimodality into account, by combining a theoretical and practical approach. This study seeks to move away from the traditional dichotomy which is inherent in theatre translation - performability vs readability - and aim towards an all-inclusive approach, considering all aspects oftheatre and performance, including audience reception and the use of music/lighting/set to create mood.My research will challenge existing views on the translator's role in theatre. The translator is an intermediary point of contact between the playwright/ST and production team, and, thus, the audience, so their significance cannot be overstated. Therefore, to break the "fifth" wall is to acknowledge the active role of the translator in productions and draw attention to their role, not just in theatre, but as a profession which enables intercultural communication, in an increasingly globalised world.

戏剧翻译作为翻译研究的一个分支，有别于文学翻译，是近几年来翻译学界才认识到的。虽然这两个翻译领域确实有一些共同的特点，特别是使用创造性的源文本（ST），戏剧翻译必须与文本的预期表演方面。他们工作的多模态性质要求他们对翻译和表演实践都有全面的了解。因此，一个合作的方法，使译者能够分享重要的语言和文化信息的ST，同时获得第一手的知识，从戏剧从业者的实际方面的戏剧表演，可以受益于各方在创作过程中。在打破“第四堵”墙的公认表现惯例的基础上，本研究将介绍我所建议的“第五堵”墙的打破。正如“第四堵”墙指的是演员和观众之间的无形之墙一样，这里的“第五堵”墙指的是演员/导演/制片人/观众和翻译之间的无形之墙。大多数戏剧翻译研究都集中在单一的目的语语言文化上。我的研究将利用这一差距，通过比较的作用，戏剧翻译在英国和德国舞台改编米哈伊尔布尔加科夫的戏剧翻译成英语和德语，分别。这将有助于更好地了解英国翻译方法，以俄罗斯戏剧，通过比较他们与另一个欧洲社会同样悠久的传统上演外国戏剧。这将有助于进一步的比较分析，从而更全面地了解欧洲及其他地区的戏剧翻译实践。本项目调查了译者如何以及在多大程度上参与戏剧创作过程，以及他们在这一过程中的可见度。通过分析一位剧作家的作品，他的作品在斯大林时期被禁止，但在去斯大林化后在西方找到了新的观众，这也将解决在俄罗斯以外鲜为人知的剧作家在外国舞台上的可见度有限的问题。从页面到舞台的过程是多模式的。因此，在这一领域的研究应考虑到这一多模态，结合理论和实践的方法。本研究试图摆脱传统的二分法，这是固有的戏剧翻译-可表演性与可读性-而旨在走向一个包罗万象的方法，考虑到戏剧和表演的各个方面，包括观众的接受和使用音乐/灯光/设置来创造情绪。我的研究将挑战现有的观点，译者在戏剧中的作用。译者是剧作家/ST和制作团队之间的中间联系点，因此，观众，所以他们的重要性不能被夸大。因此，打破“第五堵墙”就是承认译者在作品中的积极作用，并提请人们注意他们的作用，不仅是在戏剧中，而且是在日益全球化的世界中实现跨文化交流的职业。