摘要
本文讨论魁北克作家Michel Garneau创造的术语Tradapatation是否可以用于分析20世纪90年代在巴西上演的两部《罗密欧与朱丽叶》。加诺用这个新名词,专门用来指代他对《暴风雨》《麦克白》和《科利奥兰纳斯》的翻译,译作完成于20世纪后半叶。这些莎士比亚的魁北克版翻译反映了一种后殖民主义的背景,在这种背景下,翻译过程中,会选择将魁北克的法语和其他本土文化参照物放在首位,突出了法国文化主导地位的自主性,并对英属加拿大的政治和经济力量进行了反抗。继而,Tradapatations就被用于其他背景下的翻译策略中,特别是那些应用于跨文化交锋的策略,在这种交锋中,他异性的痕迹为了满足呈现本土标记的需求而删除被抹去。笔者在这里打算讨论的《罗密欧与朱丽叶》的两个巴西版本就是如此:作为混合创作,它们使不同的文化记忆领域,流行的也好,典型的也好,开始融合并开始相互接触。加尔博(GrupoGalpao)的《罗密欧与朱丽叶》于1992年首次上演,提供了一个有关于莎士比亚的跨文化视角,完全沉浸在巴西米纳斯吉拉斯州的民间传说中。它使用了传统歌曲,并融入了一部巴西最重要的原创小说的语言。另一部要研究的作品是苏阿苏纳(Ariano Suassuna)1996年的戏剧《罗密欧与朱丽叶的爱情史》。这部作品的根基是巴西民间文学传统,即在巴西干旱的东北部产生的民谣。在那里,苏阿苏纳仍然是一个重要的剧作家以及文化指称。cordel(细绳或绳子)这个名字来自伊比利亚半岛,指的是将小册子挂在绳子上以便在露天集市上展示的做法。在本文中,笔者打算探讨一下在多大程度上,这些戏剧是能够与Tradapatations有关联,同时也会考虑到外来欧洲文化的自觉意识是拉丁美洲批评反思的一个基本因素。Tradapatations作为一个概念,为少数群体文化提供了一种身份认同并创造性地使用这种方法的思路。
The presentation proposes a discussion of whether tradaptation,a term coined by the Quebecois writer Michel Garneau,may be applied to the analysis of two Brazilian productions of Romeo and Juliet staged in the 1990s.Garneau used neologism specifically to designate his translations of The Tempest,Macbeth and Coriolanus,created in the latter half of the twentieth century.These Quebecois iterations of Shakespeare reflect a postcolonial context where the translator's choice of privileging the French spoken in Quebec,along with other local cultural references,highlight autonomy from the cultural dominance of France and rebel against the political and economic power of English Canada.Since then,tradaptation has been used in other contexts to address strategies of translation,especially ones committed to intercultural encounters where traces of alterity are obliterated in favor of local markers.Such is the casewiththetwo Brazilian renditions of Romeoand JulietI intend todiscuss here:as hybrid creations,they fuse and bring into contact diverse fields of cultural memory,popular and canonic.Grupo Galpao's Romeu e Julieta,first produced in 1992,provides an intercultural vision of Shakespeare totally immersed in the folklore of the Brazilian state of Minas Gerais.It makes use of traditional songs and incorporates the language of Grande Sertao Veredas,one Brazil's most important and original novels.The other production to be examined is Ariano Suassuna's 1996 play,Ahistoria de amorde Romeue Julieta[The Love Storyof Romeo and Juliet].This work is grounded in the tradition of literatura de cordel,the chapbook ballads produced in the arid Northeast of Brazil,where Suassuna remains an important playwright and cultural reference.The name cordel(thin rope or string),comes from the Iberian Peninsula,and refers to the practice of hanging booklets from a string for display in open-air fairs and markets.In my presentation,I intend to interrogate to what extent viewing these plays as tradaptions is relevant,bearing in mind that self-conscious awareness of imported European culture is a fundamental issue in Latin American critical reflection.Tradaptation,as a concept,offers a strategy for minority cultures to affirm identity and creatively appropriate the canon.
