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被壯鄉人民奉為歌仙的劉三姐,一直都是能歌擅唱、鄙視權貴、崇尚自由、反抗不義的化身。20世紀50年代末以來,基於對原生態民間傳說的整理改編,歷經戲劇、電影、小說、詩歌等不同形式的塑造,劉三姐早已聲名遠播,成為廣西亮麗的文化名片和重要的非物質文化遺產。
本書作者從眾多文學和影視作品中精心挑選,將劉三姐歌舞劇劇本及其他膾炙人口的劉三姐歌謠首次按照可讀、可唱的標準譯成現代英語。本書旨在提供一個文學性、表演性兼備,能被英語讀者認可的翻譯文本,為劉三姐的歌謠和傳說走出中國、走向世界提供可靠的演唱基礎。
In the karst mountains in southern China, Liu Sanjie, a legendary folk song singer, has been venerated for many generations by the Zhuang people. For them, Liu Sanjie was and remains a saint, a symbol of the integrity, sensuality and resilience of their mountain culture. For what makes Liu Sanjie and her modern adaptations in various forms unique is her music, "Mountain Songs", are sung on hilly terrain and open spaces by the Zhuang people, remote and sequestered from the moralistic monarchies and stuffy Confucian scholar-bureaucrats in the interior China in ancient times. Young singers would often engage in singing duels where they would pit their wits against each other using riddles and word play and choose spouses mostly on that account. There is a mix of the earthiness, the sensuality, the play, and the tenderness that easily elude the uninitiated in the mainstream culture.
This fresh rendering of Liu Sanjie’s songs is addressed to the general readers of English speaking world with two aims topmost in the mind of the translator: readable and singable, the first of its kind since Liu Sanjie debuted in the Liuzhou Caidiao Opera in 1959.
本書作者從眾多文學和影視作品中精心挑選,將劉三姐歌舞劇劇本及其他膾炙人口的劉三姐歌謠首次按照可讀、可唱的標準譯成現代英語。本書旨在提供一個文學性、表演性兼備,能被英語讀者認可的翻譯文本,為劉三姐的歌謠和傳說走出中國、走向世界提供可靠的演唱基礎。
In the karst mountains in southern China, Liu Sanjie, a legendary folk song singer, has been venerated for many generations by the Zhuang people. For them, Liu Sanjie was and remains a saint, a symbol of the integrity, sensuality and resilience of their mountain culture. For what makes Liu Sanjie and her modern adaptations in various forms unique is her music, "Mountain Songs", are sung on hilly terrain and open spaces by the Zhuang people, remote and sequestered from the moralistic monarchies and stuffy Confucian scholar-bureaucrats in the interior China in ancient times. Young singers would often engage in singing duels where they would pit their wits against each other using riddles and word play and choose spouses mostly on that account. There is a mix of the earthiness, the sensuality, the play, and the tenderness that easily elude the uninitiated in the mainstream culture.
This fresh rendering of Liu Sanjie’s songs is addressed to the general readers of English speaking world with two aims topmost in the mind of the translator: readable and singable, the first of its kind since Liu Sanjie debuted in the Liuzhou Caidiao Opera in 1959.
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