| This report is based on the interpretation practice of “Piano-Master’s Course” in Yunnan Arts University.The interpretation practice is divided into two phases,of which the first is from November to December 2021,and the second is from May to June 2022.The author’s interpreting mode was a flexible switch between consecutive and simultaneous interpreting.This report attempts to analyze the interpreting tips used in this interpretation practice with varieties of examples from the perspective of Reception Aesthetics proposed by Jauss.This report points out its strengths and weaknesses,and put forward suggestions on optimization ways for where needs to be improved.Reception Aesthetics,also known as Reception Theory,is based on Gadamer’s Hermeneutics and was proposed by Jauss in 1967.Reception Aesthetics takes “the historicity of literature” as its fundamental concept and “the horizon of expectation”as its central concept,and advocates shifting the focus of literary research to the reader.In the “Piano-Master’s Course” interpreting task,the interpreter needs to focus on keeping a proper aesthetic distance,and finally achieve the integration of the students’ and the master’s horizon.The interpreter’s output not only needs to respond to the students’ expectations and reduce their difficulties in understanding,but also needs to preserve the art characteristics of the “Master’s Course” and enhance the students’ musical knowledge and culture.Throughout the “Piano-Master’s Course” interpreting task,the author finds out that the interpreting strategies adopted by the interpreter could be well explained by the Reception Aesthetics theory.This proves that Reception Aesthetics can provide solid explanations to some interpreting practices and can provide guidance for enhancing the quality of interpreting activities.The author hopes that this report can bring some new ideas for conducting interpreting activities related to art or art teaching. |
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