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诗词歌赋是传统中国戏曲中的特色之一,其美学乃从古到今熔铸了方言与地域文化的智慧结晶。这些中国戏曲中很多都有相关的电影版本,在香港尤其多;当时因应社会需要,这种戏曲电影中有一部分是配有中英文双语字幕的。由于古典诗词较晦涩难懂,这样一来,字幕英译不仅可以把诗化的唱词和对白内容更清晰地展示出来,也能更容易抓住观众的注意力。其中有一些中国戏曲的唱词已经翻译成英语,可惜并非所有的译本都能达到诗歌语感的共鸣。其实,以电影英文字幕形式出现的戏曲曲词,更是寥寥可数,这极可能是因为译者在平衡双语的文化语感和弦外之音方面感到吃力。故此,在把戏曲电影中的唱词翻译为英文字幕时,翻译者必须成为多元文化的桥梁——文化意蕴较重的元素必须顾及之余,又不可丢失字幕与戏曲文本的特定格式。修辞意象、内蕴意涵、着重诗意的翻译缺一不可,因为翻译者也如作者一样,是艺术家。本文会以著名的粤剧戏曲电影《紫钗记》为例,探索英译戏曲电影字幕中的诗化语言问题。
Poetry and song is one of the characteristics of traditional Chinese opera. Its aesthetics is the wisdom crystal of dialect and regional culture from ancient to present. Many of these Chinese traditional operas have related film editions, especially in Hong Kong. At that time, part of such opera films were bilingual with subtitles in English and Chinese in response to social needs. As classical poetry is rather obscure, as a result, subtitle translation can not only show poetic lyrics and dialogue more clearly, but also make it easier for audiences to grasp their attention. Some of these Chinese opera songs have been translated into English. Unfortunately, not all translations can achieve the resonance of poetic sense of language. Actually, there are only a few opera songs in the form of movie English subtitles, most probably because the translator feels struggling to balance the biblical sense of language and chord. Therefore, when translating the libretto in a drama movie into English subtitles, the translator must become a bridge of multiculturalism - elements that have a heavier cultural connotation must be taken into consideration while not losing the specific format of subtitling and drama text. Rhetorical images, implication, and poetic translation are indispensable because translators, like authors, are artists. This essay will explore the poetic language in the subtitles of the English translation of operas with the famous opera “Purple Hairpin” as an example.