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The excessive terms with overlapped meanings related to drama translationincluding “performability”, “speakability” and “theatricality” indicate that scholarsmay have been working alone without the knowledge of the latest development in thisfield (Che Suh, 2002: 53). If previous research can be collected and analyzedsystematically, it will be a giant step toward drama translation theories and practice.In this part, important concepts of drama translation will be clarified based on therelevant literature. Further more, a review will be done on the previous study on theChinese translation of The Tempest.The dual nature of drama has been widely realized among scholars at home andabroad. Lukas Erne (2013: 244) points out that drama lies in the very intersection ofliterariness and performability. Earlier than that, Walter Ong (2002: 24) expresses thesame idea using the terms “literacy” and “orality”. Worthen (2002: xi) echoes thisview by exploring the complex and often conflicted relationship between drama’spage and stage. Dong Jian and Ma Junshan state that due importance should beattached to the literariness and performability of drama translation, as all classicdrama texts in the world history are both readable and performable, and thosetheatrical works that can only achieve either one of the purposes are not worthy of thetitle “art” (董健&马俊山, 2004: 41-42). Gong Fen elaborates on the dual nature ofdrama in her doctoral dissertation, in which she says that theatrical texts not onlyshare the literariness with other genres of literature, but also have their own artisticcharacteristics which get to the audiences by the actors’ performance (戏剧是一种特殊的文学体裁，它既有文学的一般特征，又有自己独特的艺术风格。) [龚芬, 2004: 13].

1.1 Literariness of Drama and Its Translation

According to the Oxford Dictionary of Literary Terms, literariness can beunderstood as the totality of linguistic and stylistic characteristics that set literary textsapart from non-literary texts (Baldick, 2012). It is the Russian formalist RomanJacobson who first put forward this term and simply described it as “what makes agiven work a literary work” (Das, 2005: 78). Mukarovsky delved into this notion andfound out that linguistic deviation is the key to literariness, including such devices asparallelism, metaphor and irony (Pilkington, 2000: 16).Drama, as one of the oldest and most inclusive genres of literature, embraceseverything common to other literary forms. Gong Fen expounds that a play script, likea novel, has its plot and characters (象小说一样，戏剧包含人物和情节) [龚芬, 2004: 5],which transform daily occurrences into literary work with defamiliarization. Dramaalso shares with poetry the poetic language and melodious rhyme and rhythm, makingit a feast to the ear on top of its visual beauty (象诗歌一样，戏剧不仅需要读者去阅读，更需要他们去观赏和聆听) [龚芬, 2004: 5]. Moreover, the frequently occurredmonologues and soliloquies in drama can sometimes be seen as an essay or anargument (象论述一样) [龚芬, 2004: 5], which appeals to pathos, ethos or logos.Similarly, Yu Guangzhong claims that drama, filled with dialogues, resembles novel,which also emphasizes dialogues (小说里也有对话……这一点和剧本相通) [余光中,1994: 155]. The difference, however, is that the dialogues in drama are more intense,more cogent and more witty as they are only spoken once on stage (小说人物的对话不尽针锋相对，更不必妙语如珠。小说中的对话大可从容体会，不像剧本的对话稍纵即逝) [余光中, 1994: 155], which adds to the literariness of dramatic本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。