| Researches of drama translation have covered many areas, but there is still rare study on stylistic reproduction in it. Most previous researches separate the written text and a theatrical performance of a drama translation. They neglect the reproduction of the original style in drama translation. Therefore, the studies on the stylistic reproduction of drama translation still prove insufficient both at home and abroad.According to Liu Miching’s Translation Theory of Style Reproduction, the stylistic markers fall into formal markers and non-formal markers. The former contain phonological, register, syntactic, lexical, textual and rhetorical markers of the author’s style while the latter portray the method of his/her choice of theme and way of cohering a text, and also an analysis of the text quality revealed from its theme and emotion, and the style can be reproduced from ST into the TT systematically with reference to the markers.Hereby, in order to present a rather more comprehensive picture of how to realize reproduction of stylistic markers in the drama translation, this thesis, based on Liu’s Translation Theory of Style Reproduction, answers the questions as follows:(1) How can the style of the source drama text be reproduced in the TT?(2) How can Lao She’s unique language style and artistic beauty in his Cha Guan be reproduced in translation? The data are collected from the drama text Cha Guan and its two English versions.The findings are summarized as follows:(1) The style is not only of great importance in drama translation but also translatable. If the translator intends to realize stylistic reproduction in the TT, s/he has to emphasize the importance of principles of adaptability, receptor and integrity. Only by applying these three principles can the translator make it possible to spot the stylistic markers, which provide a systematic and comprehensive way to realize stylistic reproduction of C-E drama translation in TT.(2) Comparing the two translators of Cha Guan, the author has found that in the process of stylistic reproduction, in order to slove the contradictory between the translator’s style and the author’s style, the translator should select a work, and his/her style should be appropriate for the work.(3) Reproduction of stage effects or performability should be taken as the priority in stylistic reproduction of dramas. With73.91%of stylistic reproduction and high rate of relevance is0.011in Ying’s version, he pays more attention to the performance and stage effect. Ying’s version uses more simple and incomplete sentences. While in Howard’s version, the proportion of stylistic reproduction is less than Ying’s, it only accounts26.09%and its rate of relevance to ST is0.085, which is relatively low. His version is more likely to use complete, compound and complicated sentences, which although, to some extent, reproduce the original style, is not appropriate for performance.As a study of reproduction of stylistic markers in drama translation from the perspective of Translation Theory of Style Reproduction, this thesis has provided a more systematic and comprehensive study of stylistic reproduction in drama translation, and thus it is hoped to contribute to translation studies in a broad sense. |
