试谈新中国外国戏剧翻译、研究与创作的互动——兼述何辉斌的《新中国外国戏剧的翻译与研究》

On the Interaction of Foreign Drama Translation,Criticism and Creation in New China

外国戏剧的翻译、研究与本国戏剧创作3者处于互动的关系之中。在“十七年”，外国戏剧批评和本国戏剧创作几乎都以苏联的教条和本国的政策为标准，外国戏剧研究基本上没有多少作为；外国戏剧的翻译却相对自由，许多批评家和剧作家都投身于翻译，使戏剧翻译成就空前。“文革”时期，研究和创作几乎消失，但翻译尚有一些空间，还有少数人冒险翻译了一定数量的内部发行的戏剧，启迪了不少年轻人，为培养下一代的剧作家、批评家做出不少贡献。1977年至1992年。改革开放的中国在外国戏剧的翻译、研究和本国戏剧创作3个方面都取得不凡的成就。3者处于良好的互动关系之中。1993年至2010年的市场经济时代，戏剧翻译和创作的市场都有所萎缩，但不少翻译家和剧作家都跻身批评，使这个领域特别繁荣。

The translation, criticism of foreign drama and creation of native drama are interactive. During the＂ Seventeen Years,＂ the Soviet dogmas and the native policy became the only criteria for drama criticism and creation, with little achievement in criticism and some achievement in creation, but the room for translation was relatively bigger. Many playwrights and critics turned to this field, and made translation more prosperous than any previous period. During the ＂Cultural Revolution＂, creation and criticism almost disappeared, and yet some people still found some room for translation with many risks. The ＂Plays of Restricted Distribu- tion＂ they translated were very inspiring for the young people, especially for those who were going to be playwrights and critics. In the period of reform and opening-up from 1977 to 1992, the three branches were in benign interaction, which led to a glorious age for drama. During the age of market economy from 1993 to 2010, due to the contraction of translation and creation, many translators and playwrights took up criticism, leading to an age of academic research.