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1、翻译三级笔译实务模拟73Section 1 English-Chinese TranslationTranslate the following passage into Chinese.1. Para（江南博哥）. 1 On any given night outside a theater in central Tokyo, hundreds of women can be found waiting in neat phalanxes, dressed in matching T-shirts or sporting identical colored handkerchiefsthe
2、uniform of what may be the most rabidly loyal fans in Japanese entertainment. Para. 2 The stars theyre hoping to glimpse are women, too, actresses who play both male and female roles in the 102-year-old Takarazuka Revue, an enduringly successful theater company that is bringing its gender-twisting t
3、ake on the Broadway musical to the Lincoln Center Festival in New York from July 20 to 24. Para. 3 In Takarazukas Chicago, women play the sultry Velma and Roxie as well as the swaggering Billy Flynn and the hapless-schmoe Amos. The dialogue is in Japanese, but at a recent dress rehearsal here, the a
4、ttitude and staging were all-American, loyal to Bob Fosses vaudeville-inspired production, which has been running on Broadway for two decades. Para. 4 In Japan, Takarazuka is a phenomenon that rarely tours outside the country. Para. 5 Founded in 1914 by a railway company that hoped to lure travelers
5、 to a struggling hot spring resort outside Osaka, the group began with a handful of teenage singers and dancers and staged its first performances in a converted swimming pool. A century later, Takarazuka operates five sub-troupes and puts on 900 shows a year, in company-owned theaters in Tokyo and i
6、ts original western Japanese base. Most of the shows sell out. Para. 6 Cross-dressing, single-gender theater groups have a long history in Japan. This years Lincoln Center Festival also features the Kanze Noh Theater, whose stately, stylized dramas are older than Shakespeare and are performed exclus
7、ively by men. KabukiNohs somewhat newer, livelier cousinwas pioneered by all-female troupes, until a 17th-century public-morals crackdown put them out of business. Today, Kabuki, too, is all-male. Para. 7 On the surface, Takarazuka looks like a rebellion against such classical Japanese art forms. It
8、s touchstones are modern and WesternParisian cabaret, Radio City-style variety shows and, since the 1960s, Broadway. The railway executive who founded the company is said to have banned Japanese musical instruments from its backing orchestra, fearful of a lingering public association between geisha
9、and other traditional female performers and prostitution. Para. 8 Despite its Western trappings, Takarazuka draws on ideas of purity that are very primitively Japanese, Akio Mild, a veteran Takarazuka director, said. They show up in its productions and in the way the companywhose official motto is m
10、odesty, fairness, graceregulates its performers private lives. Para. 9 Chicago is a rare Takarazuka show without a dreamy male hero. An all-female heater company might be counted on to lay bare mens flaws and follies onstage, but at Takarazuka the approach is gentler. Its shows depict men not as the
11、y are, Mild said, but as they ought to be. Para. 10 Its an idealized male image, seen through womens eyes: The heroes are more romantic, more divine, he said. They dont tend to lie or cheat. Its what the audience would like from men but doesnt usually get in reality. 正确答案：第一段 在东京市中心，每天晚上都能看到数百名女性排成整
12、齐的方阵在一家剧院外等候。她们要么穿着款式相同的T恤，要么挥舞着颜色一致的手帕。她们可能是日本娱乐圈最狂热、最忠诚的粉丝。 第二段 她们期待可以一睹女明星的风采。这些女演员在有着102年历史的宝冢歌剧团(Takarazuka Revue)中出演男性角色和女性角色。宝冢歌剧团是一家经久不衰的戏剧公司，它将角色反串的风格融入百老汇音乐剧中并将其搬上舞台。该剧目在7月20至24日在纽约林肯中心艺术节上演。 第三段 在宝冢歌剧团出演的芝加哥(Chicago)中，女性扮演性感迷人的维尔玛(Velma)和洛克茜(Roxie)，还有狂妄自大的比利弗(Billy Flynn)以及倒霉愚蠢的阿莫斯(Amos)。
13、该剧采用日文对话，但在最近的彩排中，演员舞姿和表演都是美式的，忠于鲍勃福斯(Bob Fosse)受轻歌舞剧启发而创作的作品。芝加哥在百老汇已上演了20年之久。 第四段 宝冢歌剧团很少在日本之外巡演。 第五段 该剧团于1941年由一家铁路公司创办，目的是吸引游客前往大阪郊外一个濒临倒闭的温泉度假中心。最初，剧团由几名青少年歌手和舞蹈演员组成，在游泳池改建的剧场里举行了首场演出。一个世纪以后，宝冢歌剧团在日本东京及其西部根据地拥有五个演出组，每年在公司旗下剧院举办900场演出。大部分演出门票都售罄了。 第六段 穿着异性服装表演的单性别剧团在日本有着悠久的历史。今年林肯中心艺术节还将展示来自观世能剧
14、团(Kanze Noh Theater)的剧目。非写实、庄严是能剧的风格，能剧比莎士比亚戏剧年代更为久远，而且只由男性表演。歌舞伎，能剧的近亲，比能剧多了几分新颖、活泼，最初全部由女性出演，直到17世纪的一场公共道德教化活动将她们排除在这个行业之外。如今，歌舞伎也同样只由男性扮演。 第七段 表面上看，宝冢歌剧团是对日本古典艺术形式的反叛。它采用的是现代和西方的标准，如巴黎的卡巴莱歌舞表演(Parisian cabaret)、无线电城风格(Radio City-style)的综艺表演以及20世纪60年代以来的百老汇剧目。据说，创办该公司的铁路主管禁止后台管弦乐队使用日本乐器。以免观众依然把艺伎与
15、其他传统女性演员和妓女联系在一起。 第八段 资深的宝冢歌剧导演三木章雄(Akio Miki)说，尽管宝冢歌剧有其西方根源，但它依靠的是“非常纯正、非常传统的日本观念”。这些观念贯穿在作品中，也体现在公司规范演员私生活上。公司的官方座右铭是“端庄、美丽、优雅”。 第九段 芝加哥是一部罕见没有梦幻男主角的宝冢剧目。观众可能指望这个只由女性组成的剧团可以在舞台上赤裸裸地展现男性的缺点和愚蠢，但宝冢采取的方式却温和得多。三木说，宝冢歌剧展现的不是男人的真实面貌，而是他们应该成为的样子。 第十段 三木说，“这里面男性形象是理想化的。从女性的角度来看，这些英雄更浪漫、更神圣。他们通常不会说谎，不会欺骗女人
16、。这是观众希望从男人那里得到，但现实中通常得不到的。”解析 1第一段由一个长句组成，句中的过去分词dressed in matching.handkerchiefs是定语，介绍了女性粉丝的着装特点，在翻译时可进行拆分翻译，将其与前面的内容独立开来，避免译文中定语过长。 2第二段gender-twisting为合成词，意为“角色反串”；其后的take为名词，指“拍摄镜头”，此处可理解为“角色反串的风格”。 3第三段句dress rehearsal为固定搭配，意为the final practice of a play in the theatre, using the clothes and lights that wi
