关键术语的翻译对中国戏剧教育的理解有何启示？

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2022-12-01 DOI:10.1386/atr_00066_1

Sisi Zheng, Adam Cziboly

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引用次数: 0

摘要

根据作者先前的学术交流和观察，将戏剧和戏剧相关术语从英文翻译成中文或从中文翻译成中文可能会引起误解。本研究考察了关键术语的翻译对中国戏剧教育理解的启示。通过案头研究，我们从戏剧教育领域的26本具有开创性意义的英语和挪威语书籍及其中文译本中收集了主要与戏剧和戏剧有关的关键术语，并对每个术语的英语/挪威语原件和中文译本进行了整理和比较。研究结果证实，相同的中文表达被用于完全不同的戏剧相关术语，而应用的戏剧相关词汇可能会产生误导，因为翻译可能指的是戏剧建筑。本研究在阐述中国对戏剧和戏剧的理解以及新的戏剧实践《戏剧练习集》的基础上，探讨了“戏剧教育”一词在中国语境中的含义。本研究的总体目的是有助于在全球背景下进一步理解戏剧教育及其相关实践。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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What can the translation of key terms reveal about understandings of drama education in China?

Based on the authors’ previous academic exchange and observations, translation of terms related to drama and theatre from English to Chinese and vice versa is likely to cause misunderstandings. This research investigated what the translation of key terms may reveal about the understandings of drama education in China. Through a desk research, we collected key terms primarily related to drama and theatre from 26 seminal English and Norwegian books in the field of drama education and their Chinese translations, sorting out and comparing the English/Norwegian originals and the Chinese translations of each term. Findings confirmed that the same Chinese expressions had been used for completely different drama-related terms, while applied theatre-related terms may be misleading as the translation may refer to theatre architectures. Elaborating on the understanding of drama and theatre in China and the new drama praxis, the Drama Etudes, this study discusses what the term ‘drama education’ may refer to in the Chinese context. The overall aim of this study is to contribute to an extended understanding of drama education and its relevant praxis in a global context.

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来源期刊

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.