| 中文摘要 |
The paper deals with the author's translation of Chen San Wu Niang, a traditional Taiwanese opera script compiled by Liao Chiung-chih. Beginning with a synopsis of the play and an analysis of its language, the author goes on to discuss his translation strategy and its implications for the actual work of translation: the decision to render operatic arias in rhyme and meter; the use of dialogue as a means of characterization; possibilities for translating Taiwanese puns, proverbs and colloquialisms; and improvisation as a means of adding color and interest to the translated text. Lastly, there is a call for translation of other classic scripts in celebration of what is perhaps Taiwan's premier contribution to the arts, the Taiwanese opera.
這篇論文討論筆者翻譯由廖瓊枝編輯的傳統台語歌仔戲《陳三五娘》劇本。作者以對劇本的簡介和語言的分析來開始，然後討論他的翻譯策略及其對實際翻譯工作的意義：決定在韻律和旋律上予以歌劇的詠嘆調；使用對話作為人物性格刻劃的方式；翻譯台語雙關語、諺語、俚語之可能性；即興創作以增加翻譯內容之色彩和趣味。最後，筆者以拋磚引玉的心態，呼籲譯界同好共襄盛舉，一起將歌仔戲這項傑出的藝術經典譯介給廣大海外讀者。 |
| 英文摘要 |
The paper deals with the author's translation of Chen San Wu Niang, a traditional Taiwanese opera script compiled by Liao Chiung-chih. Beginning with a synopsis of the play and an analysis of its language, the author goes on to discuss his translation strategy and its implications for the actual work of translation: the decision to render operatic arias in rhyme and meter; the use of dialogue as a means of characterization; possibilities for translating Taiwanese puns, proverbs and colloquialisms; and improvisation as a means of adding color and interest to the translated text. Lastly, there is a call for translation of other classic scripts in celebration of what is perhaps Taiwan's premier contribution to the arts, the Taiwanese opera. |
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