A Report On The Translation Of Love-lies-bleeding

Drama translation has always been an important part in translation practice.However,the studies about drama translation have been marginalized.In the late 1970 s,Susan Bassart,a representative of Culture School introduced the concept of "performability" into drama translation,pointing out that "performability" is the first and foremost principle drama translators should follow.Coincidentally,Ying Ruocheng,a great drama translator of China,based on his decades of stage performance experience and numerous drama translation practice,also put forward a series of drama translating principles which can be summed up as "colloquialism","individuality","actability" and pursuing the "performance effect".It is obvious that the "performance effect" Ying advocates echoes with Susan Bassart's "performability" principle.With the increasing number of Chinese translated versions of English dramas,drama translation began to be regarded not only as reading materials,but also something that could be put on the stage.Thus,translators began to pay attention to the "performability" of drama translation.This report is based on the English-Chinese translation practice of Love-Lies-Bleeding by Don DeLillo,trying to reveal an effective method to achieve "performability" In other words,the translator aims to achieve the "colloquialism","individuality" and "actability" during the translating process.Based on the above-mentioned principles and referring to relevant materials,the translator also studies on the translation methods when dealing with punctuation marks,Latin and Italian.In writing this report,the translator makes a detailed introduction to the translation project and the source text.After that,the translator elaborates how the "performability" principles be achieved in the case study of Love-Lies-Bleeding and presents a plentiful of examples.Therefore,this report is expected to provide useful guidelines to stage-centered drama translation.