Titlebook: Identity and Theatre Translation in Hong Kong; Shelby Kar-yan Chan Book 2015 Springer-Verlag Berlin Heidelberg 2015 Cantonese.Drama transl

性別

Avenger Without a Cause: , in Hong Kong,Richard Ho’s 1979 version. The preliminary proposition is that the resulting Hongkongness is a unique adaptation of a cultural Britain to a cultural China, whereby the cultural includes the historical but shies away from the political, economic or geographical adaptation.

persistence

發(fā)酵

anaphylaxis

Identity and Mobility: , and ,,., titles such as ., ., ., ., ., ., ., ., . and . were frequently staged and widely loved by the local audience. Among these plays, two titles particularly caught the imagination of the Hong Kong audience, namely, Ray Cooney and John Chapman’s . and George Bernard Shaw’s ..

slow-wave-sleep

HARD

Conclusion,y. This has two manifestations: first, the shift from literal translation to liberal translation and, second, the increased presence and investment of the local in the foreign plays. This chapter charts the development of theatre translation, with special attention on the changes of the translation

ANTH

具體

Sons and Dragons: , as a Cultural Icon,be changed. They were confident that the story of Willy Loman, the pitiful American salesman of the 1940s, would resonate with the present-day Hong Kong audience (Cheung 2009; Tsoi 2009). The story of ., as confirmed by the play’s producers in newspaper coverage and interviews, is in many ways simil

lavish

不合

Book 2015ring the translation strategies of various theatre practitioners in Hong Kong, the book also analyses a number of foreign plays and their stage renditions. The focus is not only on the textual and discursive transfers but also on the different ways in which the people of Hong Kong perceive their identity in the performances..