昆曲与翻译课件.pptx

1、Kunqu opera昆曲OperaThe word opera means work in Italian (it is the plural of Latin opus meaning work or labour) suggesting that it combines the arts of solo and choral singing, declamation, acting and dancing in a staged spectacle. Opera is an art form in which singers and musicians perform a dramati

2、c work combining text (called a libretto) and musical score, usually in a theatrical setting.Opera incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestr

3、a or smaller musical ensemble. Opera is part of the Western classical music tradition and started in Italy at the end of the 16th century and soon spread through the rest of Europe. In the 18th century, Italian opera continued to dominate most of Europe, except France. Today the most renowned figure

4、 of late 18th century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas, especially The Marriage of Figaro, Don Giovanni, and Cos fan tutte, as well as The Magic Flute, a landmark in the German tradition.MusicalMusical theatre is closely related to the theat

5、rical form of opera, but the two are usually distinguished by weighing a number of factors. Musicals generally have a greater focus on spoken dialogue; on dancing; on the use of various genres of popular music (or at least popular singing styles); and on the avoidance of certain operatic conventions

6、. While an opera singer is primarily a singer and only secondarily an actor (and rarely needs to dance), a musical theatre performer is often an actor first and then a singer and dancer. Composers of music for musicals often consider the vocal demands of roles with musical theatre performers in mind

7、. Today, large theatres staging musicals generally use amplification of the actors singing voices in a way that would generally be disapproved of in an operatic context. Kunqu Opera Kunqu opera was proclaimed one of the masterpieces of Oral and Intangible Heritage of Humanity by the United Nations E

8、ducational, Scientific and Cultural Organization on May 18th, 2001. It is performed in many areas of the country. A Kunqu play usually consists of more than 24 scenes - accompanied by arias - with a complex plot and subplots involving human or supernatural elements. The performance usually features

9、12 actors who employ gestures, pantomime, mock combat and acrobatics, as well as stylized dancing and singing. A small ensemble of wind and string instruments, and percussion instruments accompany the singing and stage action. 昆曲作为南曲声腔的一个支派于元代在江苏昆山一带产生。南曲是宋（公元960公元1279）元（公元1279公元1368）时期南方的各种曲调的统称，也是

10、中国最早的戏曲形式南戏所用的曲调和声腔。 昆曲的兴盛期，一般认为是从明嘉靖后期昆曲定型，到清乾隆中期乱弹纷起之前。万历年间（16世纪中叶至17世纪初），昆曲的影响已由吴中扩展到江浙各地，并传入北京，迅速取代了当时盛行于北京的弋阳腔。它不仅为士大夫所喜爱也深受广大人民群众的欢迎，逐渐发展成为全国性剧种。这一时期昆曲的创作也进入了一个丰盈的收获期。创作数量之大，质量之高，在我国古典戏曲史上均达到了顶峰。汤显祖、沈璟王骥德、冯梦龙等创作了一大批优秀剧作，丰富了昆曲舞台。 作为当时文人士大夫的一种主要文化消遣形式的载体，它得到社会支配阶层的支持；作为当时领袖群伦的一种主要声腔剧种形式，它又受到社会公众

11、的普遍注目。由此，昆曲得以同时进入上流文化圈和山野民众娱乐环境，成为沟通社会各阶层社会意识的重要渠道。也由此，昆曲成了当时民间社会的主要内容成分。在中国历史上，文人介入创作最多的戏剧体裁，除了早已消失的杂剧之外，就是昆曲了。明清文人创作的大量传奇作品，多数是昆曲剧本。昆曲由俗文化起步，逐渐跻入了高品位的文化层次。 昆曲唱腔结构为曲牌联套体。曲牌联套体又称曲牌联缀体、联曲体。即以曲牌作为基本结构单位，将若干支不同的曲牌连缀成套，构成一出戏或一折戏的音乐。曲牌的文辞是长短句，从句数、用韵、各句字数、四声平仄等都有严格的要求。曲牌的曲调是与唱字紧密结合的，曲词与曲调行进的高低，是因曲词内容和每个字四

12、声调值而变化的。 剧本：昆曲曾在中国戏坛称雄达二百年之久，在明清两代成为拥有最多作家和作品的第一声腔剧种。因此与其它剧种相较而言，昆曲的剧目不但数量丰富，而且剧本文辞典雅华美，文学性很高。 昆曲继承了元剧文词的朴实、自然。虽然昆曲在文人化的过程中文词追求典雅，甚至骄丽，但由于对元剧传统的学习，明清曲家都努力探索文词“本色”“当行”的问题，并形成一时之风气。昆曲的“文雅”之美没有离开对元剧“质朴”之美的认同，并始终以元杂剧之“当行”为本。 歌剧翻译“笔译方式进行，寻求口译效果，还要能够歌唱的那样一种特殊翻译” 。从另一方面看，它虽跨多学科，却不同于科技、电影、诗词、戏剧、文学等方面的汉译，主要区

13、别就在“唱”上。换言之，歌剧译配本实质上是歌剧唱词本，“可唱性”是译本主要的特征，因此，一切译配活动都要以“唱”为中心。译出来的歌词，即使颇具文采，若不能唱，也犹如未译，正如法国著名翻译家爱德蒙加里在谈论戏剧翻译时所说：“语言是译过来了，但因为不注意戏剧艺术，却不能供演出”。 译文字数受音符数量和外文音节的严格限制；译文句式受音乐结构和外文句式的严格限制；译文中的每个词的重音受音乐重音和节奏的限制；译文中的每个字的声调受音乐走向的限制；译文风格受音乐风格的限制；译文的韵脚受音乐情绪的限制；译文的句逗、呼吸和气口必须和原文的句逗、呼吸和气完全一致；译文在高音区的用字必须是恰当的开口元音。 昆剧的

14、字幕翻译至少应注意以下三个方面：一，时间限制。字幕原文与译文出现的时间与演员道白或演唱的时间基本一致，均转瞬即逝，而观众的注意力主要放在美伦美唤的舞台表演上，无暇仔细研读品味译文，因此翻译不必过分追求韵律格律等形式化因素，也不必对文化内涵丰富的内容具体展开，当然此处更无法像文学翻译剧本那样加注解。应以观众一眼看懂为前提，语言尽量简单，避免出现生僻难懂的词句。 二，字数限制。字幕机上同时打出戏剧的原文和译文，但每屏字数有限，因此译文应尽量简短，最好与原文长短相一致。如果译文一次显示不完，可分几屏，但每屏所显示的译文应尽量保持是原戏剧台词或唱词的一个完整意群，以避免前言后语交接时在时间上和视觉上的

15、断代给观众带来的理解困难。 三，情境限制。戏剧字幕译文的出现与舞台上演员表演、故事情节的推进同时进行。据此，译文应尽量与原作所展现的情境即时耦合，与演员的动作、表情、感受及所要表达的思想感情保持一致。如果说作为文学作品的戏剧适用表现手法进行翻译的话，那么，此处的字幕版本则需稍倾向于再现的翻译手法，并且不可过分讲求文化张力。否则，哪怕是名家妙译，只要与舞台表演不甚相符，也会让观众匪夷所思，实现不了字幕翻译应起的作用。 生：小生实未有妻。旦：也不干我事。 PAN BIDING：I have no wife actually.CHEN MIAOCHANG：It has nothing to do w

16、ith me. Why do you want me to know this? 以自由诗翻译,除了对应原文头四行和最后两行的译文押韵外,其他部分均不押韵,。译文总行数接近原文的两倍,这是由于字幕机屏幕显示时字数的局限,每行的字数相对较少,译者所选择的截断处多为一个完整的意群。尽可能采用相对简单的语法和较为熟悉的词汇,照顾观众一眼看懂的需求。从总体的翻译手法来说,应该较忠实地传达原作的字面意义。 原则易懂应以保证风格和神韵为前提，因为易懂也是相对的，有深层含义，也有浅层次的含义；而保证原作风貌和神韵应以可唱性为前提，因为歌剧毕竟是一种歌唱艺术。 诗歌翻译在中诗外译方面,国内主要流派有格律诗体派

17、(如许渊冲、汪榕培、吴钧陶、孙大雨)、自由诗体派(如杨宪益、丁祖馨、王守义)、仿译派或称散文体翻译派(如翁显良),相比较而言,格律诗体派在译诗数量及译者人数方面,始终在我国诗歌翻译界占据主流地位。 押韵英诗的押韵(rhyming)同汉语格律诗的押韵规矩大致相同。英诗的押韵就是甲行的最后音节里的元音和乙行的最后音节的元音完全相同,如果元音后面带着一个或两个辅音,辅音也必须相同。 英语是由字母组合而成的表音文字,押韵类型可以根据词中音素所在位置划分,词首音素一致时叫做押头韵,词中间的音素,尤其是元音因素,一致时叫做押半韵,词尾的音素一致时称为押尾韵。从位置看,汉语的韵和英语的尾韵接近,但又不完全相

18、同,因为汉语押韵的单位是韵母,而英语的押韵既可以是元音也可以是元音与辅音的组合,这完全取决于押韵的词是以何种音素结尾。明清传奇中含有的诗、词、曲、赋都有自身的韵式,各种语言形式的韵式相加起来其数目相当可观。而英语的韵式数量相对少得多,常见的有两行一韵的(AABB型)、隔行押韵的(ABCB型)、隔行交互押韵的(ABAB型)和交错押韵(ABBA型)。 声调由于组成汉语和英语音步的音素各不相同,汉语和英语的音步的性质便大相径庭,汉语的节奏属于“平仄律”而英语的节奏属于“轻重律” 。 轻重律(rising meters)1.一轻一重律(iambic),例如:the wind is fresh and

19、free2.二轻一重律(anapest),例如:happy filed or mossy cavern重轻律(falling meters)1.一重一轻律(trochee),例如:and all thats best of dark and bright2.二重一轻律(dactyl),例如:take her up tenderly 英汉两种语言的不同特点决定原作和译作的音乐美体现在不同的地方:汉语是声调语,以音调的高低、轻重、长短、快慢构成汉语抑扬顿挫、高昂洪亮的音乐美;英语作为语调语言,则以其不同的语调、重音、轻音、次重音的排列构成其连绵不断、行云流水般的旋律美。 在吟诵的时候,古代汉语的语

20、言基本上是以两个音节为一个节奏单位,重音往往落在后面的音节上。这样两字音节的节奏单位形成一“顿”,也可以称为一个“音步”。节奏总是跟平仄相联系的。平仄与双音节的节奏单位匹配在一起,平声和仄声交替使用,形成千变万化的古代韵文句式,也形成了古代律句的多彩多姿的语言节奏。 诗、词、曲、赋的一行按音节划分长度,如五言、七言,一般不用音步数量标记长度,而英语根据音步数量划分诗行,可以有单音步、双音步、三音步、四音步、五音步、六音步、七音步和八音步。 应对第一,不应以死的韵律格式限制翻译活动,翻译韵律不等于采用原文相同的韵律,也不等于用现成的英诗韵律套译原文,正确的做法是在译文中创造性地再造与原文在韵律和

21、节奏方面相类似的对应物,并且这种对应物在各个方面能够形成一个和谐的整体,为目的语读者带来优美的听觉效果和愉悦的审美体验。 第二,韵律的移植不是翻译中的必要条件,而是充分条件,也就是说,不能因为译文没有移植韵律而贬低译文,但译文如果在实现交际意义的同时又实现韵律的移植,则译文具有更高层次的审美效果。 无韵诗翻译法(Blank Verse)：一来比较自由,不至于阻碍文本意义的传达,二来在译文中仍遵循某种传统或自创的韵律,所以译文不但比较确切还更具有文学性 。 “枯藤老树昏鸦,小桥流水人家。古道西风瘦马。阳西下,断肠人在天涯。”马致远天净沙秋思翁显良译文 AutumnCrows hovering o

22、ver rugged old treeswreathed with rotten vine- the day is about done. Yonder is a tiny bridge over a sparkling stream, and on the far bank, a pretty little village. But the traveler has to go on down this ancientroad, the westwind moaning, hisbony horse groaning, trudging towards the sinking sun, fa

23、rther and farther away from home.Schlepp译文Tune to“Sand and Sky”-Autumn ThoughtsDry vine, old tree, crows atdusk,Low bridge, stream running, cottages,Ancient road, westwind, lean nag,The sunwesteringAnd onewith breaking heart at the skys edge.丁祖馨& Burton Raffel译文Tune: Tian Jing ShW ithered vines hang

24、ing on old branches,Returning crows croaking atdusk.A few below the bridge a quiet creek running.Down aworn path, in thewestwind,A lean horse comes plodding.The sun dips sown in thewes,tAnd the lovesick traveler is still at the end of theworld.许渊冲译文 Autumn ThoughtsOver old treeswreathedwith rotten v

25、ines fly evening crows;Under a smallbridge near a cottage a stream flows;On ancient road in thewestwind a lean horse goes.Westward declines the sun;Far, far from home is the heartbroken one. 情双好，情双好，纵百岁犹嫌少。怎说到，怎说到，平白地分开了。总朕错，总朕错，请莫恼，请莫恼。 Were so deep in love, so deep in love,Even a hundred years wil

26、l not be enough.Why should you say to part from me?Its all my fault. Be not angry! （Xu Yuanchong & Xu Ming, 2009:287）We two will love for a hundred years,And still it will not be enough;So why should you speak so suddenly of parting?It is all my fault, and I beg you not to be angry. (Yang Xianyi & G

27、ladys Yang, 2006:195) 问、问、问、问华萼娇，怕、怕、怕、怕不似楼东花更好。有、有、有、有梅枝儿曾占先春，又、又、又、又何用绿杨牵绕。 Ask, ask, ask the Blooming flowerIf, if, if its also as fair as that in Eastern Bower!Since, since, since spring mume blossoms please,Do, do, do you still need green willow trees? （Xu Yuanchong & Xu Ming, 2009:285） 稳稳的宫廷宴安

28、，扰扰的边廷造反。冬冬的鼙鼓喧，腾腾的烽火烟。的溜扑碌臣民儿逃散，黑漫漫乾坤覆翻，碜磕磕社稷摧残，碜磕磕社稷摧残。当不得萧萧飒飒西风送晚，黯黯的，一轮落日冷长安。: A happy feast in palace hall is broken by a boltFrom the blue, rebels on the frontier come in revolt.We hear the drumbeats loud,And see the beacon fire rise to the cloud.People are fleeing from the town,The empire is

29、turned upside down,The devastated country looks desolate far and near,At dusk the west wind soughs sad and drear.The sun sets at nightfall;Dark and cold grows the capital.（Xu Yuanchong & Xu Ming, 2009:351） While we were feasting peacefully in the palace,Rebellion had broken out at the frontier.Alarms have been sounded and beacon fires are lit;The people are fleeing in pani