Index

doi:10.1075/btl.153.index

In:Opera in Translation: Unity and diversity
Edited by Adriana Şerban and Kelly Kar Yue Chan
[Benjamins Translation Library 153] 2020
► pp. 365–369

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Index

Published online: 29 October 2020

https://doi.org/10.1075/btl.153.index

A

accent, accentual, accentuation 200, 223, 234, 243, 248–250, 252, 254–259, 348, 350, 354

acceptability 126, 286, 333–334

accessibility, accessible 1, 6, 9, 13–14, 20–21, 23, 35–36, 43, 61, 91, 105, 117, 141, 171, 211, 230, 252, 286

acting 26, 40–42, 76, 80, 85–86, 88–91, 93, 119–121, 267

adaptation 3, 5, 8, 14, 56–59, 63, 66, 75, 77–78, 80, 86–88, 91–93, 101, 113–114, 118, 120, 122, 126, 128, 130, 135–137, 173, 188, 190–191, 194, 212, 282–283, 286, 297, 332, 351, 356

aesthetics, aesthetic 2, 4, 7, 54, 59, 63–64, 75–76, 78, 82–84, 86, 88–90, 93, 114, 117–119, 123–124, 126–127, 129, 141, 149, 168, 178, 205, 244, 248, 254, 264, 269, 273, 293, 298, 305, 339, 340, 343, 352–354, 356

alliteration 210, 228, 243–244, 250, 252, 266

allusion 139, 141, 143, 148, 152–153, 171, 305, 307, 315–316, 321, 326–333, 335–336

archaic, archaising 227, 229, 232–233, 252, 254, 315, 324, 332–334

archetype, archetypal 56, 195–196, 214

aria 39, 43, 49, 56–57, 62–63, 67, 76, 119, 123–124, 127, 136, 140–145, 147, 150–151, 153–156, 163, 184, 186, 188–189, 202, 210, 297, 301, 303–304, 307–308, 316, 324, 327, 328n14, 344–350, 355

audience 1, 3–6, 9, 13–14, 19, 21, 30, 35–46, 49–51, 60–61, 64, 68, 78–82, 87–91, 95, 105, 107–108, 118, 120, 122, 124, 126–128, 130, 136, 139–142, 159, 167, 170, 178, 180, 195, 197, 200–201, 205–206, 209–210, 213–214, 219, 221, 223, 230–232, 235–237, 239–240, 251, 253–254, 256, 263–265, 272, 275, 278–282, 284, 286, 295, 300, 317n2, 319–320, 325, 330, 342–345, 347, 349, 351–355

B

ballet 5, 60, 70, 95, 106–108, 117, 272, 278, 280–281, 284, 348

bard 227–230

baroque 59, 118, 130

Beijing opera 75–76, 79–80, 82–84, 86

bel canto119

C

Cantonese opera 2, 6, 9

caption 35–36, 43–44, 46, 342, 348–349, 353–354

CD-insert 2, 337, 346–350, 352–357

character 17, 23, 25–26, 37, 40–42, 45–46, 49–50, 62, 66, 78, 84–86, 88, 95, 105, 107–109, 119–121, 123–125, 127–128, 130, 137, 139–140, 143–145, 149–152, 154–155, 164, 168–170, 187–188, 195–197, 200, 202, 204–206, 210–214, 220–224, 226, 229, 237, 257–258, 263, 281, 292–293, 299, 301, 303, 305, 315, 319–320, 322–323, 328, 332, 347–350, 352, 354n6

choreographer 95, 104–105

cinema, cinematic 5, 7–8, 18, 41, 59, 64, 75–85, 87–94, 337, 357

classical Chinese opera 159, 161

comedy 42, 139, 140, 164, 171, 267, 280–281, 283

communication 14–15, 21, 23, 25, 31–32, 39, 55, 68–69, 76–77, 85, 99, 160, 239, 241, 246, 248, 251, 258, 264, 268–269, 342–343, 353

composition (musical), compositional 25, 62, 64, 221, 224, 228, 247–250, 261, 276, 280–281, 291, 296, 304, 308, 312

costume 4, 41, 46, 50, 76, 81, 83, 90, 101, 118, 121–123, 126–128, 212, 246, 272, 281

D

dance 2, 8, 25–26, 29, 32–33, 41, 76, 84, 95–96, 100–101, 104–106, 108, 114, 117–119, 121–124, 127, 144, 188, 272, 281, 292

deconstruction 97, 100, 112–113

dialect 76, 101, 127, 202, 222, 350

dialogue 17, 21–23, 29–30, 49–50, 58, 61, 65–66, 83, 87, 113, 119, 142, 150, 163, 166, 171, 201–202, 251, 253, 281–284, 287, 319, 321, 323–325, 327n13, 332, 355

diction 62, 150, 168, 252–254, 333

directions (stage, musical) 17, 38, 64, 123, 128, 163, 202, 209, 279, 301, 320, 326

dissonance, dissonant 55, 223–224, 239, 247–248, 259–261, 263

Divan literature278

domestication, domesticating 136n1, 155, 324n8

drama 2, 9, 19, 42, 47, 65–66, 70, 76, 79, 83–84, 86, 93–94, 96, 104, 117–120, 122–125, 127–128, 130–131, 156–157, 162, 171–172, 244, 251, 261, 267, 269, 279, 282, 293, 307, 313, 338–340, 345, 348, 352–353, 355

E

effect 83, 86–86n4, 88–89, 91, 118, 121, 127, 129, 139, 152–153, 163, 165–166, 169–171, 196–198, 201–202, 208, 210, 213, 231, 236, 246, 248, 262, 279–280, 285, 292, 319, 330, 332, 338–340, 343, 345, 347–350, 353–354

elite 59, 166, 170, 271, 277–278, 286

epistemology 96–105, 108, 110

equivalence 64, 100, 110, 139, 279–280, 326

exoticism, exotic 104, 108, 195–196, 200, 206, 213–215

F

facial expressions 40–41, 79, 90, 101, 121, 127

fairy tale 120, 230–231, 291, 293, 300, 304, 311–313

figurative 75, 78, 84–87, 92, 212, 321

film 7, 14, 40, 61, 68, 75–94, 96, 102, 106, 172, 316, 344, 346, 348n3, 356–357

folk, folklore, folkish 24, 26, 45, 59, 102, 153, 187, 220–223, 227–229, 231, 236, 239–240, 272, 278, 291–293, 298–299, 303, 305–306

foreignisation, foreignising 126, 136n1, 323, 324n8

function 2, 4, 31, 54, 77–78, 103, 163, 212, 229, 244–248, 250, 254, 276–277, 304, 306, 309, 311, 322, 334, 337, 339–340, 343, 345, 347, 349–350, 352–354, 357

G

gender 95–96, 100, 102, 104, 107–109, 112–114, 165, 173, 240

genre 2–4, 13–16, 19, 30, 32, 59–61, 64, 67, 73, 75–76, 78–79, 82, 92–93, 95–96, 101, 104, 106, 108–110, 128, 195, 199, 219–220, 239, 271–274, 277–278, 280, 286, 316, 319, 321, 323, 331–332, 337–338, 341–342, 344, 346–347, 349, 355

Gestalt 243, 246, 248, 265, 269

H

habitus 175, 177, 186–187, 194

heteroglossia 55, 337, 342–355

hybridity, hybrid 2, 4, 21, 31, 56, 64, 75–78, 87, 91–92, 98, 108, 199, 296, 324, 338–339, 342, 353, 355–356

I

identity, identities (cultural, gender, linguistic, national, political, sexual) 2, 8, 75–76, 78–80, 93, 95, 98, 105, 108–109, 113, 122, 136, 159, 173, 269, 277, 281, 302, 318, 338, 350

ideology, ideological 6, 95, 99, 103, 105, 159–160, 162, 180–181, 185, 188, 190, 198, 213, 271–272, 316n1

impersonator 80, 119

intercultural 4, 13–25, 29–33, 76, 86, 94, 101, 336, 338, 341

interlinguistic 121, 341–343, 350–351

intermediality, intermedial 7, 18, 75, 77–78, 92–93

intersemiosis 243–245, 247, 254, 256, 264–265, 267

intersemiotic (translation, rewriting, transposition) 5, 14, 20, 22, 30, 75, 77–78, 91–92, 95–96, 100–101, 106n2, 108, 117, 121, 127–129, 196, 239, 245, 269

intertextuality 5, 19, 67, 78, 97, 99, 106, 111, 114, 142, 148, 177n4, 192, 315–316, 319, 321–336, 342–343, 345, 349, 354

interval (music) 69, 223–224, 243, 250, 254, 256, 258–261, 263

intonation 127, 222–224, 261

intralingual (translation) 14, 22, 55, 127, 196, 348, 350–351

invisibility, invisible 37, 44, 57, 64, 71, 100, 115, 120, 159–160, 173, 292, 351

J

Jew, Jewish 6, 175, 177, 180–184, 186–189, 193–194

K

Kabuki 2, 4, 8, 117–121, 123, 127–128, 130

kata 120–121, 127, 129

kinesics 126–128, 353

Kyōgen 118–123, 129–130

L

leitmotif 40, 224, 248, 250, 319

libretto, libretti 1–2, 4–6, 14, 17, 35–40, 50, 53–71, 119, 137, 141, 143, 152–153, 156–157, 175, 181–182, 195–198, 201–203, 206–214, 219–222, 224, 226–228, 233, 236–238, 243–244, 249–250, 252, 254, 266–267, 275–276, 279–287, 289, 291–293, 295–299, 301, 311–313, 315–322, 324, 328, 333, 335–354

literal (translation) 3, 127, 137–138, 153, 167–168, 179, 229–231, 233–238, 294, 317n2, 323–327, 332

lyric poetry 162, 168, 312

lyricism 108, 124, 127, 152, 349

lyrics 2, 4, 7–8, 37, 69, 71, 102, 147, 151, 157, 178, 189, 267–268, 279, 286–287, 335, 357

M

make-up 4, 41, 46, 101, 246

mask 90, 120, 122–123, 127–128

May Fourth 75, 86

meaning 2, 13–16, 21, 23–26, 30–31, 55, 57, 64, 69, 77, 97–101, 106, 109–110, 125, 127, 144–145, 165–166, 168–169, 171, 178, 195, 213, 219, 222, 226, 228, 230, 235, 237–238, 243–251, 254–262, 264–265, 269, 278–279, 283, 285, 295–296, 304, 311, 319–323, 325–327, 337–340, 342, 353

media 2–3, 5–6, 13, 15–16, 18, 21, 23, 30–31, 56, 59, 68, 73, 77–81, 83–84, 90–92, 100–101, 181, 268–269, 296

medium 7, 15, 18, 23, 75, 77–79, 82–83, 85–86, 91–92, 121, 171, 272, 340, 342, 347, 353–354

metre, metric 29, 66, 138, 215, 224, 226, 249–250, 254, 278, 317

Ming opera163

mode 4, 13–16, 20–21, 25, 30–31, 55, 76, 92–93, 124, 243–248, 251, 254, 268–269, 275–276, 321, 337–338, 341–343, 346–347, 350, 353–356

modernise 16, 76, 81–83, 86, 91, 272–273, 277, 315, 324, 332–333

monomane 120

motif 120, 127, 223–226, 228, 239, 262, 293

multilingualism, multilingual 4, 6, 8–9, 111, 337–357

multimodality, multimodal 5, 13–15, 18–21, 30–33, 60, 66, 68, 243–248, 254, 265–270, 341

musicology 3–4, 13, 15–16, 18, 20–22, 29–32, 96, 101–104, 109–110, 112, 114, 187

myth, mythology 5, 18, 21, 24, 60, 66, 69, 112, 162, 220, 240, 253–254, 261, 266, 291–292, 298–302, 304–305, 307–309, 312–313, 351, 356

N

national opera 42, 76, 135, 153, 198, 252, 279, 294, 350

National Socialism, National Socialist 177, 180–182, 184–185, 187, 189–190

natural speech 221, 223, 250

naturalisation, naturalising 165, 170, 315, 323–326, 332–333

naturalness 233, 245, 252, 284, 286

Nazism, Nazi 103, 175, 177, 180–190, 192–194

Noh 2, 4, 117–120, 123–130

O

opera film 5, 75–83, 85, 87, 90–94

operetta 4, 6–7, 271–273, 275–276, 279–282, 286–287

originality 77, 99, 106n2, 114

otherness 135–136, 195–196, 206, 345

Ottoman Empire 272, 274, 277–278

P

Pansori 4

paralanguage127

paratext, paratextual 159, 161, 164–165, 170–171, 198, 329

parlando-rubato 223, 227

parody 17, 55–56, 275

pastiche 15, 19–20, 22–24, 53, 55

pattern 85, 120, 124, 127, 208, 221, 223–224, 233, 255–256, 258–259, 296–297, 322

Peking opera 1, 6, 93

Pentathlon Principle 271, 281–283, 286

performability, performable 2–3, 126, 128, 163, 172, 234, 239, 245, 254, 281–283, 286

performance 1–7, 14–15, 17–19, 22, 29, 31, 35–40, 42–43, 50–51, 58–59, 61, 64, 68, 71, 76, 78–95, 101, 117–118, 120, 122–124, 126–130, 137–138, 144, 157, 163, 175, 177–178, 183, 188–189, 194, 215–216, 233, 239–240, 252, 254, 266, 274–275, 279–282, 293, 295–296, 311–312, 317, 319, 323, 325, 340, 342–344, 347, 349–354, 359–360

pitch 127, 224, 240, 250, 257–259

play 2, 5, 9, 16–18, 21–26, 29, 57, 62, 76–77, 80, 82–85, 87–91, 95, 117–118, 120, 122–127, 129, 131, 140, 162–166, 168, 171–172, 182n11, 195, 199–206, 214, 239, 266, 275, 279, 316, 318–320, 327–328, 351

plot 2, 14, 17, 19, 24–25, 30–31, 36–38, 41, 43, 49–50, 87, 102, 178, 182n11, 220, 223, 227, 233, 252, 262–263, 273, 276, 282, 305, 315, 321, 340–341, 346, 352–354

plurilingualism, plurilingual 337–338, 342–343, 345, 355

poetic 4, 39, 56, 62–63, 67, 88, 113, 125, 162, 166, 168, 170–171, 203, 211, 220, 222, 229, 243–245, 248, 253–254, 256, 258, 264, 268, 278, 284, 293, 296, 300, 302, 304, 311, 322, 333, 336, 356

poetics 32, 53, 92–94, 152, 268

poetry 54, 56–57, 62, 149, 156, 158, 162, 168, 221, 246–247, 250, 254, 265–266, 268–269, 278, 281–282, 291, 312, 315, 319, 336

post-structuralism 99, 113

post-translation 95–96, 106–108, 110, 113

prose 29, 76, 163, 166, 171, 179, 227, 229, 278, 284, 291, 295–296, 298, 311, 335

prosody 137–138, 221, 243–245, 279, 283

proxemics 127–128, 246

R

realism, realistic 75–76, 78, 84–86, 88–92, 108, 124, 142, 319, 323, 345

reception 6, 8, 29, 59, 77, 83, 110, 136, 157, 232, 265, 291, 295, 311–312, 333, 336–337, 341, 347, 357

recitative 37, 44, 49, 119, 127, 141, 143, 152, 154, 156, 189, 222, 324n9, 328n14, 344–345, 347, 355

regös 228–229, 232

repertoire 4, 6, 55, 58, 60–61, 63, 68, 102, 176n2, 194, 273, 297, 338, 347, 349–350

repetition 57, 106, 145, 150, 205, 220, 222, 224, 231–232, 235–237, 247, 258, 284, 298–299, 304–305, 308–309, 311

retranslation 2, 186

rewriting 5, 53, 60, 62–64, 66, 69, 71, 95–96, 100, 104, 107–108, 110, 113, 135, 152, 279

rhetoric, rhetorical 20, 66, 138, 158–159, 162, 172–173, 248–250, 254, 323, 324n9, 327, 328n15, 332–333

rhyme 29, 139, 153–154, 166–167, 171, 221, 229–230, 232–233, 244–262, 264, 268, 278, 285, 287, 296–298, 300–301, 303, 305, 309, 311–312

rhythm 26, 28–29, 69, 119, 124, 127, 138, 166, 215, 221–223, 225–226, 228–229, 233, 235–236, 239, 241, 244, 246–247, 251, 283, 285, 297, 345

S

sashi 119, 127

satire 53, 55–56, 64, 66, 69, 71

screen adaptation 75, 77, 83, 86, 92

Second World War 54–55, 59–60, 64, 176, 252, 333

semantics, semantic 22, 26, 55, 66, 138, 145, 152–153, 208, 212, 222, 241, 244–245, 248–254, 256, 260–261, 263–264, 285, 291, 294–296, 298–301, 309, 311, 326, 330, 336–341, 343, 353–354

semiotic, semiotics 4, 15, 31–32, 35, 37, 40, 50–51, 94, 101, 113, 244–247, 267–269, 335–336, 339, 347, 349, 357

setting (drama, music) 17, 24–26, 28–29, 41, 56, 84–85, 88, 90, 118, 121, 127, 234, 256, 259, 272, 299–300, 304

sexuality, sexual 5, 54, 79, 102, 105, 107, 112, 114, 135, 137, 139, 141, 145, 148, 154–155, 164–166, 196

shift (in translation) 291, 295–296, 298–299, 301, 305, 311

singability, singable 3, 145, 186n15, 219, 230, 233, 238–239, 243, 253–254, 265, 268, 271, 281–282, 285–286, 291, 296, 311, 332

skopos 281, 283, 298, 311

Stabreim 244–245, 248–250, 254

stage 2, 4, 8–9, 15–18, 20, 22, 28, 31, 35–39, 41–45, 47, 49, 51, 55, 57, 60–61, 63–64, 68, 75–86, 88–94, 108, 118–120, 122–128, 130, 135, 139, 152, 156–157, 163–164, 176, 178–181, 183–184, 189–193, 197, 201–202, 208–209, 213, 219, 222, 237, 239, 243, 246, 266, 272, 274–275, 279, 281–282, 295–296, 301, 307, 316–317, 320, 337, 343, 357

stanza 62, 221, 227, 229–232, 321, 344, 346

stereotype 196, 200, 205, 214, 332, 342, 345

strategy (translation) 6, 9, 33, 60–63, 65, 69, 107, 135, 144, 155, 159–162, 165, 169–171, 175, 265, 268, 286, 295, 299–300, 315, 323, 326–327, 332, 337, 342–343, 345–357

style, stylistic 1, 13, 15–17, 29, 32, 39, 42, 50, 54–55, 63, 66–67, 70–71, 76, 81–83, 86–88, 91–92, 112, 119, 123–124, 126, 141, 150, 153, 158–160, 162, 171–172, 182, 188, 197, 220, 222–223, 227, 229, 232–233, 241, 244–246, 248–249, 252–253, 255, 257, 264–265, 273–274, 278, 291–293, 295–300, 302, 304–306, 308–309, 311, 313, 315–316, 319–320, 322–324, 327, 330, 332–333, 340, 349

subtitle, subtitling 2, 6, 9, 36, 51, 41, 102, 121–122, 139, 337, 346–355

supernatural 164, 166–168, 220, 292, 313

surtitle, surtitling 1–2, 5–9, 13–14, 17, 19, 35–41, 43–51, 60, 68, 198, 227, 231–232, 236–240, 282, 295, 313, 340, 342–343, 346, 357

syllable 62, 221, 224, 226, 228–229, 233–236, 248–249, 254–256, 261, 285, 298, 304–305

symbol 14, 16–17, 19–22, 120, 181, 225, 248, 256

symbolism 4–5, 75, 78, 220, 223, 225, 254

syntax 141, 201, 204, 222–223, 250, 254, 264, 297, 305, 323, 330

T

theatre 2–5, 7–9, 32, 35–36, 38, 41–42, 53, 57–58, 68–69, 71, 75–94, 96, 104, 113, 117–124, 126–130, 138, 141, 149, 157–158, 172–173, 176–178, 180, 182–185, 190, 192, 200, 215, 240, 245, 269, 271–272, 274–276, 278, 280, 286, 293, 295, 311, 313, 346, 352n4, 356

theme (in opera) 4, 19, 40, 102, 122, 143, 152, 164, 198, 204, 224–225, 261, 276, 293, 299, 331, 349

Third Reich 6, 175–177, 180, 187–189, 192–193

tone, tonal 28–29, 67, 152, 159, 180, 182, 204, 222–223, 225–226, 229, 244–245, 252, 254, 261, 264–265, 268

tonality 124, 243–244, 250–251, 261–264, 269

tradition 3, 5, 7, 18, 53–56, 60–61, 64–66, 69, 75–79, 82–83, 85–86, 92–94, 104, 167, 176, 186–187, 219–220, 229, 233, 266, 272, 274, 278–279, 287, 316, 319–320, 332, 357

transfer 3, 5, 7, 16, 30, 67, 77, 92, 94, 136–137, 283, 300

translation studies 3, 5, 9, 13, 15, 18, 32, 77, 96, 99, 109–111, 113, 130, 173, 268–269, 286, 313

transposition 3, 5, 76, 78, 106–107, 121, 136, 195, 224, 244

V

vernacular 46, 343–344

verse 58, 76, 163, 166, 171, 221, 228, 243–245, 247–254, 260, 264–266, 291, 293, 299, 303, 308, 311, 317n2, 327

Versmelodie 4, 243–244, 248–251

vocal score 2, 61, 65, 139, 156, 252, 265–266, 295, 298–299, 311, 313, 346, 349

W

Westernisation 4, 271, 273, 275–277, 279, 286

Y

Yuan opera163