泽熙美文Section 1 English-Chinese Translation
Translate the following passage into Chinese.
1. Para. 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 handkerchiefs—the uniform of what may be the most rabidly loyal fans in Japanese entertainment.
Para. 2 The stars they’re 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 take on the Broadway musical to the Lincoln Center Festival in New York from July 20 to 24.
Para. 3 ①In Takarazuka’s “Chicago,” women play the sultry Velma and Roxie as well as the swaggering Billy Flynn and the hapless-schmoe Amos. ②The dialogue is in Japanese, but at a recent dress rehearsal here, the attitude and staging were all-American, loyal to Bob Fosse’s 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 ①Founded in 1914 by a railway company that hoped to lure travelers 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. ②A century later, Takarazuka operates five sub-troupes and puts on 900 shows a year, in company-owned theaters in Tokyo and its original western Japanese base. ③Most of the shows sell out.
Para. 6 ①Cross-dressing, single-gender theater groups have a long history in Japan. ②This year’s Lincoln Center Festival also features the Kanze Noh Theater, whose stately, stylized dramas are older than Shakespeare and are performed exclusively by men. ③Kabuki—Noh’s somewhat newer, livelier cousin—was pioneered by all-female troupes, until a 17th-century public-morals crackdown put them out of business. ④Today, Kabuki, too, is all-male.
Para. 7 ①On the surface, Takarazuka looks like a rebellion against such classical Japanese art forms. ②Its touchstones are modern and Western—Parisian cabaret, Radio City-style variety shows and, since the 1960s, Broadway. ③The 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 and other traditional female performers and prostitution.
Para. 8 ①Despite its Western trappings, Takarazuka draws on “ideas of purity that are very primitively Japanese,” Akio Mild, a veteran Takarazuka director, said. ②They show up in its productions and in the way the company—whose official motto is “modesty, fairness, grace”—regulates its performers’ private lives.
Para. 9 ①”Chicago” is a rare Takarazuka show without a dreamy male hero. ②An all-female heater company might be counted on to lay bare men’s flaws and follies onstage, but at Takarazuka the approach is gentler. ③Its shows depict men not as they are, Mild said, but as they ought to be.
Para. 10 ①”It’s an idealized male image, seen through women’s eyes: The heroes are more romantic, more divine,” he said. ②”They don’t tend to lie or cheat. It’s what the audience would like from men but doesn’t 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 ①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)。②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 ①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。②一个世纪以后，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。③大部分演出门票都售罄了。
第六段 ①穿着异性服装表演的单性别剧团在日本有着悠久的历史。②今年林肯中心艺术节还将展示来自观世能剧团(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。③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。④如今，歌舞伎也同样只由男性扮演。
第七段 ①表面上看，宝冢歌剧团是对日本古典艺术形式的反叛。②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。③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其他传统女性演员和妓女联系在一起。
第八段 ①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”。②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 ①《芝加哥》是一部罕见没有梦幻男主角的宝冢剧目。②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。③三木说，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 ①三木说，“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。⑦他们通常不会说谎，不会欺骗女人。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②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 will be used for the real performance，在中文语境下为“彩排”。
4．第六段③句cousin译为“堂(表)兄弟姐妹”，若采用直译的方式，译文显得生硬。故可将cousin译为“近亲”，即表达原文意思，又符合中文的习惯。
5．第九段②句be counted on“被指望”为被动形式。在翻译时可通过增加动作行为的主体“观众”将其转换为主动形式，译为“观众指望”。
Section 2 Chinese-English Translation
Translate the following passage into English.
1. 第一段 ①我们处在这样一个时代：世界多极化深入发展，新兴市场国家和发展中国家群体崛起，全球化、信息化持续推进，新一轮科技革命风起云涌，人类追求更大发展繁荣的机遇前所未有。
第二段 ②我们看到这样一个世界：国际格局和力量对比发生深刻变化，传统和非传统威胁突出，全球增长动能不足，逆全球化思潮泛起，人类实现持久和平和永续发展的挑战也前所未有。
第三段 ③我们又一次站到了十字路口，和平还是战争，开放还是封闭，团结还是分裂，我们必须作出正确抉择。④中国始终是致力于和平的力量。⑤我们为半岛核问题的和平解决做出了不懈努力。⑥不管形势如何演变，不管需要多长时间，不管遇到什么困难，中国，都将坚守半岛无核化的目标，坚持对话谈判的方向，坚定维护地区的和平稳定。
正确答案：
①We live :in an era that is defined by a deepening trend toward a multi-polar world, the collective rise of emerging markets and developing countries, steady progress in globalization and IT application, and an exciting new round of revolution in science and technology. In mankind’s pursuit of greater development and prosperity, there are great opportunities like never before.
②We live in a world that is witnessing profound changes in the international landscape and balance of power, prominent traditional and non-traditional threats, insufficient driving force for global growth and a growing backlash against globalization. There are unprecedented challenges for mankind’s pursuit of lasting peace and sustainable development.
③We are once again at a crossroads. It is time to make the right choice between peace and war, between openness and seclusion, and between unity and division. ④China has always been a force for peace. ⑤We have made unremitting efforts for peaceful resolution of the nuclear issue on the Korean Peninsula. ⑥No matter how the situation evolves, no matter how long it takes, and no matter what difficulties lie ahead, China will remain committed to denuclearization on the Korean Peninsula, stick to dialogue and negotiation and firmly uphold regional peace and stability.
[解析] 1．①句可以按照原文的结构译作we live in an era: world multi-polarization deepens…，也可以利用定语从句来显化原文中冒号的作用。冒号前面的分句用于陈述事实“我们正处在这样一个时代”，后面的分句则用于修饰中心词“时代”，交代该时代的具体特征。因此，可译作we live in an era that is defined by…，使前后分句的逻辑显得更为紧密。
