多模态理论视域下滇剧《水莽草》对外译介研究

A Study on the Translation of the Yunnan Opera “Shui Mang Cao” from the Perspective of Multimodal Theory

Dian opera is an important component of Chinese traditional opera and an indispensable part of China’s intangible cultural heritage, embodying the history and emotions of local culture. In the context of globalization, the study of the translation and dissemination of Dian opera abroad not only serves the purpose of preserving and passing on this local art form, but also fulfills a significant role in promoting cultural exchange. By exploring effective translation strategies for Dian opera, the research aims to enhance the international presence of Yunnan’s regional culture and pave new pathways for the global reach of Chinese culture. With the advancement of multimedia technologies, multimodal theory has emerged as an essential tool in the fields of linguistics and translation studies. Human expression and communication are no longer confined to language alone but are conveyed through various semiotic resources, including visual, auditory, and kinesthetic modes. From the perspective of multimodal theory, translators must pay close attention to the visual symbols, musical elements, and body language within the performance, seeking more flexible and effective strategies for its international dissemination. This paper adopts the comprehensive theoretical framework of multimodal discourse analysis proposed by Professor Zhang Delu, in conjunction with Kress and Van Leeuwen’s visual and auditory grammar, to conduct an in-depth exploration of the translation and dissemination strategies of the representative New Dian Opera work Shuimang Grass. This study aims to provide new insights and references for the global dissemination of Dian opera and, more broadly, Chinese traditional opera.

滇剧是中华戏曲艺术的重要组成部分，更是我国非物质文化遗产中不可或缺的特色内容，承载着地方文化的历史与情感。在全球化的时代背景下，滇剧的对外译介研究不单单是对地方戏曲的传承与保护，更是文化传播和交流中的重要使命。通过深入研究滇剧的译介方式，不仅能有效推动云南地方文化的国际影响力，更能为中华文化走向世界开拓新的路径。随着多媒体技术的发展，多模态理论逐渐成为语言学与翻译学等领域的重要工具。人类的表达与交流不仅仅依赖于语言文字的单一模式，而是通过视觉、听觉、动作等多种符号共同构建意义。滇剧的译介以多模态理论为视域，译者应充分重视戏曲表演中的视觉符号、音乐元素和身体语言，从而为滇剧的国际传播找到更加灵活有效的翻译策略。本文以张德禄教授提出的多模态话语分析综合理论框架为分析工具，结合Kress 与Van Leeuwen 的视觉语法和听觉语法，深入探讨了新滇剧代表作《水莽草》的译介方式，希望通过此研究，为滇剧乃至中国戏曲的全球传播提供新的启示与借鉴。