희곡번역의 공연성과 문화번역 ―로르카의 희곡 『예르마』(Yerma)의 영어번역을 중심으로
Performability and Cultural Translation in Drama Translation: in the Case of the English Translation of García Lorca's Yerma
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This study aims to examine the reception of the English translation of García Lorca's representative play Yerma in English-speaking countries, and to analyze changes and transformation made in Gwynne Edwards' English translation in terms of its performability and the cultural translation aspect. For performability, in the English translation of Yerma, strategic translation of stage directions as well as incorporation of more dialogues into the English translation have been made to help the director and actors effectively grasp performance dimension. For cultural translation, in order to lessen the strangeness of traditional Spanish cultural values for the English-speaking audience, the translator has interfered through the manipulation of the cultural perspective of conflicts between the main characters, Juan and Yerma, resorting to existing stereotypes and distorted images of women such as 'femme fatale' or Annie, a character in the movie "Misery", along with binary structure of the innocent husband versus the evil and the cold blooded wife. This kind of manipulated reception of foreign culture in English translation reflects the high degree of resistance of British and American stages against translated plays, and the realistic limit of cultural translation in drama translation.
Abstract
This study aims to examine the reception of the English translation of García Lorca's representative play Yerma in English-speaking countries, and to analyze changes and transformation made in Gwynne Edwards' English translation in terms of its performability and the cultural translation aspect. For performability, in the English translation of Yerma, strategic translation of stage directions as well as incorporation of more dialogues into the English translation have been made to help the director and actors effectively grasp performance dimension. For cultural translation, in order to lessen the strangeness of traditional Spanish cultural values for the English-speaking audience, the translator has interfered through the manipulation of the cultural perspective of conflicts between the main characters, Juan and Yerma, resorting to existing stereotypes and distorted images of women such as 'femme fatale' or Annie, a character in the movie "Misery", along with binary structure of the innocent husband versus the evil and the cold blooded wife. This kind of manipulated reception of foreign culture in English translation reflects the high degree of resistance of British and American stages against translated plays, and the realistic limit of cultural translation in drama translation.
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