戏剧主义修辞观视角下的音乐剧《Tick, Tick... Boom!》中译研究

A Study of the Chinese Translation of Tick, Tick... Boom! from the Perspective of Dramatistic Rhetoric

摘要: 本文以《Tick, Tick... Boom!》2021年电影版官方中文字幕和中文版舞台音乐剧文本为研究对象，运用肯尼斯·伯克戏剧主义修辞观中的“五位一体”、辞屏与认同概念，考察剧名、歌曲标题及歌词翻译对人物动机、文化意象和情感基调的重构。研究发现，部分译文通过温情化、概括化和文化信息省略，改变了行动、场景与目的之间的关系，弱化了特定文化指涉及时间焦虑，并由此调整了目标文本所提供的受众认同路径。音乐剧中译应根据电影字幕与舞台译配的不同媒介约束，在可读性、可唱性和修辞功能之间进行协调，在传递基本语义的同时尽量保留人物行动意图、文化关联和整体情感张力。

Abstract: This study takes the official Chinese subtitles of the 2021 film adaptation of Tick, Tick... Boom! and the Chinese stage musical script as its research materials. Drawing on Kenneth Burke’s Dramatistic Theory of Rhetoric, particularly the concepts of the Pentad, terministic screen, and identification, it examines how the translation of the title, song titles, and lyrics reconstructs character motivation, cultural imagery, and emotional tone. The findings indicate that some translations, through sentimentalization, generalization, and the omission of cultural information, alter the relationships among act, scene, and purpose, thereby weakening culturally specific references to temporal anxiety and reshaping the pathways of audience identification offered by the target text. The study further argues that the Chinese translation of musicals should accommodate the distinct constraints of film subtitles and stage adaptation by balancing readability, singability, and rhetorical function. While conveying the essential meaning of the source text, translators should endeavor to preserve the characters’ motivations, cultural associations, and the overall emotional tension of the work.