Within the semiotic system of Peking Opera,the script plays a relatively minor role and cannot independently convey the complex implications of its stage art.Nevertheless,as a critical link in cross-cultural communica...Within the semiotic system of Peking Opera,the script plays a relatively minor role and cannot independently convey the complex implications of its stage art.Nevertheless,as a critical link in cross-cultural communication,script translation is still entrusted with the function of interpreting Peking Opera.Adopting the theoretical framework of theater semiotics,this study selects four representative translators in the history of Peking Opera translation—L.C.Arlington,Yao Xinnong,S.I.Hsiung,and A.C.Scott—and analyzes their translation strategies and approaches to semiotic processing.The research reveals that,although these translators employed markedly different methods reflecting the historical contexts they inhabited and the expectations of their target readerships,all demonstrated a profound sensitivity to the theatricality and performative sign system of Peking Opera.Their translations exhibit diverse paths and strategic choices in representing stage meaning through textual forms.展开更多
基金supported by the 2023 Key Project of the Liaoning Provincial Social Science Foundation,“Terminological Compilation,Translation,and Overseas Dissemination of Peking Opera for the Construction of a Chinese Xiqu Discourse System”(L23AYY002)It is also funded by the China Scholarship Council.
文摘Within the semiotic system of Peking Opera,the script plays a relatively minor role and cannot independently convey the complex implications of its stage art.Nevertheless,as a critical link in cross-cultural communication,script translation is still entrusted with the function of interpreting Peking Opera.Adopting the theoretical framework of theater semiotics,this study selects four representative translators in the history of Peking Opera translation—L.C.Arlington,Yao Xinnong,S.I.Hsiung,and A.C.Scott—and analyzes their translation strategies and approaches to semiotic processing.The research reveals that,although these translators employed markedly different methods reflecting the historical contexts they inhabited and the expectations of their target readerships,all demonstrated a profound sensitivity to the theatricality and performative sign system of Peking Opera.Their translations exhibit diverse paths and strategic choices in representing stage meaning through textual forms.
