誠如西方學者所言，儘管當今的描寫翻譯學研究已經取得長足的進展，然而由於戲劇翻譯問題之複雜，並且缺少令人滿意的解釋性理論，迄今就其展開深入研究的甚少。此種情形同樣適用於當今中國的戲劇翻譯界。當代西方翻譯理論家蘇珊巴斯奈特曾反覆強調，文本功能是翻譯的中心問題。落實到戲劇翻譯領域更是如此。巴斯奈特尤其重視戲劇文本的可表演性 (performativity)、可言說性 (speakability) 和讀者/觀眾的接受問題。既然戲劇最重視的是其演出效果，而演出中劇本的語言問題又尤為實質，因此如何體現戲劇的可表演性或可言說性就成了中西無數戲劇創作家的努力追求，同時也成了眾多翻譯家在戲劇翻譯中重點探索的問題。當代香港就活躍著一位戲劇翻譯家黎翠珍，她長期從事英漢雙語寫作，又有不少的英漢和漢英翻譯作品（主要是戲劇翻譯作品），且精於戲劇表演之道，這也註定她的翻譯會頗具特色。本篇試以黎翠珍英譯曹禺的《原野》為個案，討論她是如何充分發揮自己的雙語特長，利用自己的戲劇表演經驗，通過翻譯來營構戲劇語言的音樂性。 [Go to the full record in the library's catalogue]
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