introduction

This article introduces the current situation of Chinese classical drama translation, pointing out that existing translations focus more on literary and readability, and less on performability. Special mention was made of the English translation of "The Peony Pavilion" by American sinologist Bai Zhi, emphasizing its handling of the rhythm and musical effects of the poetry. The article aims to further explore the embodiment of the principle of performability in the translation of classical Chinese drama.

The principle of performability in drama translation

In depth exploration of the performability principle in drama translation originated from Western semiotic research and has been expanded in the English translation of classical Chinese drama. Bassnett and other Western scholars emphasize the close connection between dramatic texts and performances, advocating that translation should focus on both action and language, and handle symbols and paralinguistic factors in the text. Espasa, Newmark, Pavis, and others further elaborated on the connotation of performability, emphasizing the priority of colloquialism, action, and stage performance. Chinese scholars such as Zhu Shenghao and Cao Yu have also proposed the performative thinking of drama translation, emphasizing the preservation of the original spirit, stage direction, and colloquialism. The commonality between Chinese and Western scholars lies in the fact that drama translation needs to take into account both language and action factors, with language being able to be spoken or sung, reflecting the character's personality; Actions should delve deep into the text to facilitate stage performance. On this basis, the author will further analyze the performability factors in the English translation of "The Peony Pavilion" and explore its connotation in the English translation of Chinese classical drama.

Overview of the Study on the English Translation of Bai Zhi's "The Peony Pavilion"

An overview of the English translation of "The Peony Pavilion" by American sinologist Bai Zhi, first published by Indiana University Press in 1980 and reprinted in 2002. Bai Zhi's translation was partially selected and disseminated as a textbook in 1972. The complete translation is widely regarded as authoritative, and has been affirmed by researchers and translators such as Wang Rongpei. The research can be mainly divided into three categories: translation and dissemination studies, theoretical studies, and comparative studies of translations. Translation and communication studies focus on text and stage communication, theoretical research explores the operational norms of translating symbolic imagery into English, and comparative studies of translations analyze from different theoretical perspectives. Although there have been studies on lyrics and syllables, there is relatively little research on the performability of translations. The version of "The Peony Pavilion" directed by Peter Sellers and the full version of "The Peony Pavilion" directed by Chen Shizheng both use Bai Zhi's translation, demonstrating its widespread influence on overseas theatrical stages.

The performability factors in Bai Zhiying's translation

This article delves into the performability factors in the English translation of "The Peony Pavilion", analyzes the close connection between Chinese classical drama and ancient "music", and points out that "music" is a performing art that integrates poetry, song, and dance. The Chinese classical drama script consists of three elements: lyrics, dialogue, and script. Lyrics and dialogue belong to language factors, while script and script belong to action factors. The article takes Bai Zhi's English translation of "The Peony Pavilion" as an example to analyze the embodiment of the principle of performability in English translation from the perspectives of language and action.

conclusion

It emphasizes the comprehensiveness of Chinese classical drama, including language and action factors. The English translation of Bai Zhi's "The Peony Pavilion" maintains the singing characteristics and language rhythm of the original text through free-form poetry, while using literal and free translation to handle cultural loaded words, ensuring the fluency of the translation. The translation delves into the factors of movement, and through detailed descriptions of Ke Jie, showcases the psychological activities of the characters, making the stage performance visual and coordinated. In addition, the flexible choice of sentence length in the translation allows for the coordination of actions with lyrics and recitation, reflecting the comprehensiveness of drama. The article aims to explore the principle of performability in drama translation and provide reference for the translation of classical Chinese drama.