戏剧翻译—major Barbara课件.pptVIP

Major Barbara;Contents;萧伯纳[1856-1950]（George Bernard Shaw);英若诚(1929-2003);戏剧翻译;戏剧翻译的特点;戏剧翻译的特点;怎样进行戏剧翻译?;服从演出需要的剧本翻译 必须具有可演出性or可说性（speakablity) ,这是由戏剧的特点决定的. 如: 英如诚先生在他翻译的《茶馆》的前言中指出: “ 一句台词稍纵即逝,不可能停下戏来加以注释﹑讲解. 这正是戏剧语言的艺术精髓.戏剧语言要求铿锵有力,切忌拖泥带水……” “话剧是各种艺术形式中最依赖口语的直接效果的形式.” 英若诚先生的版本语言非常简练﹑形象生动,口语话色彩很浓,很适合演出.具体表现为短句和单句为主,口头语﹑俚语大量出现,弱化语法.;《芭巴拉少校》主要故事梗概： 本剧总共包括三幕，以救世军为题材，反映了贫富不均和劳资冲突等尖锐的 社会问题 。主人公芭巴拉是个有理想的青年，虔诚的基督教徒，救世军中的少校。她认为宗教是整个社会的基础，所有的人都是上帝的女儿，而她的理想就是在救世军中拯救穷人的灵魂。救世军的慈善事业需要金钱，由于经费短缺，芭巴拉所在的救世军收容所面临困难。芭巴拉的父亲安德谢夫是军火商，他出于个人的目的，在参观收容所时当场捐出5000英镑。芭巴拉起初说服救世军，希望他们不接受父亲的金钱。她和父亲的冲突，是经济和信仰的冲突，理想和现实的冲突。芭巴拉后来在别人的劝说下，还是要了这笔钱。人们在安德谢夫走后，感谢他的善行。芭巴拉的幻想破灭，痛苦地摘下救世军领章，别在父亲的衣领上。而当安德谢夫要收买救世军时，她终于屈服，相信是“威士忌大王”鲍吉尔和军火商救活了穷人。如果她离开父亲，就是“离开生活”。芭巴拉的转变虽然显得唐突，但也并非完全不可能。芭巴拉的精神苦闷，也表达了一些和上层社会有千丝万缕联系的青年知识分子的苦闷。;文本分析— 芭巴拉少校(摘自pg144—pg150）;Barbara only your new friend. Bill Wot new friend? Barbara The devil, Bill. When he gets round people they get miserable, just like you. Bill [with a heartbreaking attempt at devil-may-care cheerfulness] I aint miserable. [He sits down again, and stretches his legs in an attempt to seem indifferent.] Barbara Well, if youre happy, why dont you look happy, as we do? Bill [his legs curling back in spite of him] I’m appy enough, I tell you. Why dont you lea me alown? Wot av I done to you? I aint smashed your face, av I? Barbara [softly: wooing his soul] it’s not me thats getting at you, Bill.;Bill who else is it? Barbara Somebody that doesnt intend you to smash women’s faces, I suppose. Somebody or something that wants to make a man of you. Bill [blustering] Make a man o me! Aint I a man? Eh? Aint I a man? Who sez I’m not a man? Barbara Theres a man in you somewhere, I suppose. But why did he let you hit poor little Jenny Hill? That wasnt very manly of him, was it? Bill [tormented] Av done with it, I tell you. Chack it. I’m sick of your Jenny lll and er silly little face.;Barbara Then why do yo