Identity and Theatre Translation in Hong Kong.

By: Chan, Shelby Kar-yanMaterial type: TextTextSeries: eBooks on DemandNew Frontiers in Translation Studies: Publisher: Berlin, Heidelberg : Springer, 2015Copyright date: ©2015Description: 1 online resource (238 pages)Content type: text Media type: computer Carrier type: online resourceISBN: 9783662455418Subject(s): Chinese drama -- Translations into English | Identity (Psychology) in literature | Theater -- China -- Hong KongGenre/Form: Electronic books.Additional physical formats: Print version:: Identity and Theatre Translation in Hong KongDDC classification: 418.02 LOC classification: P306-310PN851-884PN1Online resources: Click here to view this ebook.
Contents:
Intro -- General Editor's Preface -- References -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 Hongkongers, Identity and Hong Kong Identity -- 1.1.1 Hongkongers -- 1.1.2 Identity -- 1.1.3 Hong Kong Identity -- 1.1.4 Chineseness -- 1.2 Theatre Translation -- References -- Chapter 2: Home, Identity and Translation -- 2.1 Hong Kong -- 2.1.1 Origin -- 2.1.2 Ownership -- 2.1.3 Sense of Belonging -- 2.2 Homelessness at Home -- 2.3 Other Homes than Home -- 2.4 Identity Translation -- References -- Chapter 3: Play It Again: Background and Statistical Analysis of Translated Plays -- 3.1 Before the 1980s: When Translated Theatre Began -- 3.2 1980-1984: Setting the Stage -- 3.3 1985-1989: Quest for a New Beginning -- 3.4 1990-1997: Counting Down -- 3.5 Beyond 1997: The Certainty of Uncertainty -- 3.6 Translated Plays and Production -- 3.7 Origins of Translated Plays -- 3.8 Retranslations Before and After the 1980s -- 3.9 Cultural Insurance -- References -- Chapter 4: Parroting Without Parody: Chung King-fai, The Seals Players and Theatre Space -- 4.1 Chung King-fai -- 4.1.1 A Worldly Dramatist -- 4.1.2 Utilitarian Mimicry -- 4.1.3 The Cultural Over the National and the Market -- 4.1.4 Another Kind of "Formalism" -- 4.2 The Seals Players -- 4.2.1 Flawed Mimesis -- 4.3 Theatre Space -- 4.3.1 Didactic Function of Translated Drama -- 4.3.2 A Macro Hong Kong Theatre -- 4.3.3 Obfuscating the Self -- 4.4 Different Kinds of Faithfulness -- References -- Chapter 5: Avenger Without a Cause: Hamlet in Hong Kong -- 5.1 Presence Through Absence -- 5.2 Adaptation, Definitely Not Translation -- 5.3 Background Shift -- 5.4 Skipping the Minor, Keeping the Major -- 5.4.1 Revenge-Centric -- 5.4.2 Causes of Revenge -- 5.4.3 Delay to the Revenge -- 5.4.3.1 Who Is the Ghost? -- 5.4.3.2 How Would God Judge? -- 5.4.3.3 What Would Other Princes Do?.
5.5 How Not to Tell the Story of Hamlet -- 5.6 Alignment to a Cultural China -- 5.7 Alignment to a Cultural West -- References -- Chapter 6: Hong Kong People Speak: Rupert Chan and Twelfth Night -- 6.1 Rupert Chan: Hong Kong Speaks Through Translation -- 6.1.1 Translating for Hong Kong -- 6.1.2 Hongkong-Centricity -- 6.1.2.1 Use of Hongkong-Speak -- 6.1.2.2 Relocation of Settings -- 6.1.2.3 References to Hong Kong's Popular Culture -- 6.2 How "Hong Kong" Can Twelfth Night Be? -- 6.2.1 Setting: A Disguised Hong Kong -- 6.2.2 Characters' Names -- 6.2.3 Bawdy Jokes and Wordplays -- 6.2.4 Switch Between Registers and Dialects -- 6.2.5 Hongkong-Speak Slang -- 6.3 Staging Hongkongness -- 6.3.1 Language Choice as a Political Act -- 6.3.2 Accentuation of Local Lifestyle -- 6.3.3 Quasi-allegiance to China -- 6.3.4 Neoculturation -- References -- Chapter 7: Sons and Dragons: Death of a Salesman as a Cultural Icon -- 7.1 The Salesman Motif -- 7.2 Wishing Sons Were Dragons -- 7.3 From Rags to Riches -- 7.4 A Sense of Displacement -- 7.5 Why Did We Not Localise Salesman? -- References -- Chapter 8: Identity and Mobility: Move Over, Mrs. Markham! and Pygmalion -- 8.1 Move Over, Mrs. Markham! -- 8.1.1 Naughty Couple -- 8.1.2 Identity Shuffle -- 8.1.3 Transient Identities -- 8.2 Pygmalion -- 8.2.1 Pygmalion in Hong Kong -- 8.2.2 Lovely Is This Noble Lady -- 8.2.3 Social Class and Performance -- 8.2.4 Commodity Value -- 8.3 Identity Performance -- 8.4 Translation, Emigration and Performance -- References -- Chapter 9: Equivocating About Home: The Importance of Being Unintelligible -- 9.1 Home in the Realm of the Beyond -- 9.1.1 Location of the Beyond -- 9.1.2 Identity Shift -- 9.1.3 Intractable Hongkong-Speak -- 9.2 Self-Writing and Original Plays -- 9.3 Borrowing and Self-Writing -- References -- Chapter 10: Conclusion -- 10.1 An Imitation Home.
10.2 Scaffolding of a New Home -- 10.3 Home Speak -- 10.4 A Home Modelled on Others -- 10.5 Movement Between Homes -- 10.6 Coda -- References -- Bibliography.
Summary: In this book, Shelby Chan examines the relationship between theatre translation and identity construction against the sociocultural background that has led to the popularity of translated theatre in Hong Kong. A statistical analysis of the development of translated theatre is presented, establishing a correlation between  its popularity and major socio-political trends. When the idea of home, often assumed to be the basis for identity, becomes blurred for historical, political and sociocultural reasons, people may come to feel "homeless" and compelled to look for alternative means to develop the Self. In theatre translation, Hongkongers have found a source of inspiration to nurture their identity and expand their "home" territory. By exploring 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.
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Intro -- General Editor's Preface -- References -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 Hongkongers, Identity and Hong Kong Identity -- 1.1.1 Hongkongers -- 1.1.2 Identity -- 1.1.3 Hong Kong Identity -- 1.1.4 Chineseness -- 1.2 Theatre Translation -- References -- Chapter 2: Home, Identity and Translation -- 2.1 Hong Kong -- 2.1.1 Origin -- 2.1.2 Ownership -- 2.1.3 Sense of Belonging -- 2.2 Homelessness at Home -- 2.3 Other Homes than Home -- 2.4 Identity Translation -- References -- Chapter 3: Play It Again: Background and Statistical Analysis of Translated Plays -- 3.1 Before the 1980s: When Translated Theatre Began -- 3.2 1980-1984: Setting the Stage -- 3.3 1985-1989: Quest for a New Beginning -- 3.4 1990-1997: Counting Down -- 3.5 Beyond 1997: The Certainty of Uncertainty -- 3.6 Translated Plays and Production -- 3.7 Origins of Translated Plays -- 3.8 Retranslations Before and After the 1980s -- 3.9 Cultural Insurance -- References -- Chapter 4: Parroting Without Parody: Chung King-fai, The Seals Players and Theatre Space -- 4.1 Chung King-fai -- 4.1.1 A Worldly Dramatist -- 4.1.2 Utilitarian Mimicry -- 4.1.3 The Cultural Over the National and the Market -- 4.1.4 Another Kind of "Formalism" -- 4.2 The Seals Players -- 4.2.1 Flawed Mimesis -- 4.3 Theatre Space -- 4.3.1 Didactic Function of Translated Drama -- 4.3.2 A Macro Hong Kong Theatre -- 4.3.3 Obfuscating the Self -- 4.4 Different Kinds of Faithfulness -- References -- Chapter 5: Avenger Without a Cause: Hamlet in Hong Kong -- 5.1 Presence Through Absence -- 5.2 Adaptation, Definitely Not Translation -- 5.3 Background Shift -- 5.4 Skipping the Minor, Keeping the Major -- 5.4.1 Revenge-Centric -- 5.4.2 Causes of Revenge -- 5.4.3 Delay to the Revenge -- 5.4.3.1 Who Is the Ghost? -- 5.4.3.2 How Would God Judge? -- 5.4.3.3 What Would Other Princes Do?.

5.5 How Not to Tell the Story of Hamlet -- 5.6 Alignment to a Cultural China -- 5.7 Alignment to a Cultural West -- References -- Chapter 6: Hong Kong People Speak: Rupert Chan and Twelfth Night -- 6.1 Rupert Chan: Hong Kong Speaks Through Translation -- 6.1.1 Translating for Hong Kong -- 6.1.2 Hongkong-Centricity -- 6.1.2.1 Use of Hongkong-Speak -- 6.1.2.2 Relocation of Settings -- 6.1.2.3 References to Hong Kong's Popular Culture -- 6.2 How "Hong Kong" Can Twelfth Night Be? -- 6.2.1 Setting: A Disguised Hong Kong -- 6.2.2 Characters' Names -- 6.2.3 Bawdy Jokes and Wordplays -- 6.2.4 Switch Between Registers and Dialects -- 6.2.5 Hongkong-Speak Slang -- 6.3 Staging Hongkongness -- 6.3.1 Language Choice as a Political Act -- 6.3.2 Accentuation of Local Lifestyle -- 6.3.3 Quasi-allegiance to China -- 6.3.4 Neoculturation -- References -- Chapter 7: Sons and Dragons: Death of a Salesman as a Cultural Icon -- 7.1 The Salesman Motif -- 7.2 Wishing Sons Were Dragons -- 7.3 From Rags to Riches -- 7.4 A Sense of Displacement -- 7.5 Why Did We Not Localise Salesman? -- References -- Chapter 8: Identity and Mobility: Move Over, Mrs. Markham! and Pygmalion -- 8.1 Move Over, Mrs. Markham! -- 8.1.1 Naughty Couple -- 8.1.2 Identity Shuffle -- 8.1.3 Transient Identities -- 8.2 Pygmalion -- 8.2.1 Pygmalion in Hong Kong -- 8.2.2 Lovely Is This Noble Lady -- 8.2.3 Social Class and Performance -- 8.2.4 Commodity Value -- 8.3 Identity Performance -- 8.4 Translation, Emigration and Performance -- References -- Chapter 9: Equivocating About Home: The Importance of Being Unintelligible -- 9.1 Home in the Realm of the Beyond -- 9.1.1 Location of the Beyond -- 9.1.2 Identity Shift -- 9.1.3 Intractable Hongkong-Speak -- 9.2 Self-Writing and Original Plays -- 9.3 Borrowing and Self-Writing -- References -- Chapter 10: Conclusion -- 10.1 An Imitation Home.

10.2 Scaffolding of a New Home -- 10.3 Home Speak -- 10.4 A Home Modelled on Others -- 10.5 Movement Between Homes -- 10.6 Coda -- References -- Bibliography.

In this book, Shelby Chan examines the relationship between theatre translation and identity construction against the sociocultural background that has led to the popularity of translated theatre in Hong Kong. A statistical analysis of the development of translated theatre is presented, establishing a correlation between  its popularity and major socio-political trends. When the idea of home, often assumed to be the basis for identity, becomes blurred for historical, political and sociocultural reasons, people may come to feel "homeless" and compelled to look for alternative means to develop the Self. In theatre translation, Hongkongers have found a source of inspiration to nurture their identity and expand their "home" territory. By exploring 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.

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