When translating musicals’ librettos from one culture to another, what rôles do socio-cultural factors play? How
are they negotiated during the development of the target text? Drawing on some of the major concepts from Actor Network Theory,
this study looks at an example from the Mandarin Chinese translation of Mamma Mia! which has recently been
performed on the Chinese mainland. It investigates how translators respond to the target socio-cultural context during their
libretto translation. The findings suggest that, when translating Mamma Mia! into Chinese, translators operate in
a dynamic network of multiple perspectives. Their consumer-oriented interactions with the stakeholders, together with
socio-cultural factors, play important rôles in creating resonance with the target audience, and thus contribute to musicals’
commercial success in the global arena. This study leads to a view of the translator as a mediator in the network responding to
multiple stakeholders and factors to facilitate the development of the target text.
Through researching the development and influence of the history and heritage of Chinese opera for over 800 years, this article aims to investigate Chinese opera goers' expectations from and perceptions of the libretti translations of western musicals and what translation strategies might be adopted for Chinese audiences' reception. In light of that tradition, this article argues that, unlike many western opera goers who would put more emphasis on the music and the singing, for Chinese audiences, the poetic and rhyming lyrics in opera are just as important. This theatrical tradition may influence the Chinese translation of western musicals. Using descriptive translation study methods, this article bases its case studies on cover versions of some western musicals that have already been performed in China, such as The Phantom of the Opera and Cats, and discusses the aspects including singability, creativity and intercultural adaptations.
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