희곡 번역의 충실성과 공연성의 경계에서—『에쿠우스』를 중심으로—
At the Boundary of Faithfulness and Performability in Drama Translation —Focusing on Equus
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This study aims to consider the characteristics of the drama translation focusing on the correlation between literary faithfulness and performability, and to compare each translation to see the differences of the translations that emphasize the performability or literary importance. It is obvious that the translation into literary text should be carried out in consideration of performability as well. However, when translated with an excessive emphasis on performability, the play may be translated deviating from the intention of the original author according to time, place, age, social status, and sex of the translator. Therefore, It is necessary to distinguish between the faithful translation from its play script. The former reflects its playwright's original intention as faithfully as possible while the latter is produced for performance only. What translators should focus on is the translation of drama which is the basis for play scripts, rather than the adaptation made by the director in accordance with the background of performance and the purpose of play. This paper examined whether each translation faithfully carried the characteristics of the original drama and functioned as the appropriate drama text that could be a source of the adaptation, or whether it revealed the ambiguity beyond the boundary of drama translation and adaptation. Considering the drama should be translated in consideration of performability, it is necessary to properly grasp the boundary of faithfulness and performability. Also, it seems appropriate to leave the area directly related to stage performance to a director and deal with it at an adaptation stage so that dramas can be performed with various interpretations.
Abstract
This study aims to consider the characteristics of the drama translation focusing on the correlation between literary faithfulness and performability, and to compare each translation to see the differences of the translations that emphasize the performability or literary importance. It is obvious that the translation into literary text should be carried out in consideration of performability as well. However, when translated with an excessive emphasis on performability, the play may be translated deviating from the intention of the original author according to time, place, age, social status, and sex of the translator. Therefore, It is necessary to distinguish between the faithful translation from its play script. The former reflects its playwright's original intention as faithfully as possible while the latter is produced for performance only. What translators should focus on is the translation of drama which is the basis for play scripts, rather than the adaptation made by the director in accordance with the background of performance and the purpose of play. This paper examined whether each translation faithfully carried the characteristics of the original drama and functioned as the appropriate drama text that could be a source of the adaptation, or whether it revealed the ambiguity beyond the boundary of drama translation and adaptation. Considering the drama should be translated in consideration of performability, it is necessary to properly grasp the boundary of faithfulness and performability. Also, it seems appropriate to leave the area directly related to stage performance to a director and deal with it at an adaptation stage so that dramas can be performed with various interpretations.
참고문헌 (26)
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