Abstract This article proposes that in order to understand the nature of literary translation as an art form, we need to complement existing approaches drawing on literary, linguistic and sociological theories with insights derived from performance studies. As a way of exploring what the theorization of translation as performance art could contribute to our understanding of literary translation, I map four basic tenets of performance as restored behavior ( Schechner 1985 ) to two translators’ (Margaret Jull Costa and Peter Bush) accounts of their practice. The mapping is illustrated with writings by and interviews with the translators, focusing on four points of contact: the unresolved dialectal tension between self and other, the deliberate, rehearsed nature of decisions, the need for distance between original and performance/translation, and the role of the audience.

中文翻译：

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翻译者

摘要本文提出，为了理解文学翻译作为一种艺术形式的本质，我们需要利用表演研究得出的见识来补充以文学，语言学和社会学理论为基础的现有方法。为了探索翻译作为表演艺术的理论对我们对文学翻译的理解有何帮助，我将表演的四个基本原则作为还原的行为（Schechner 1985）映射到两位译者（玛格丽特·贾尔·科斯塔和彼得·布什）的论述中。他们的实践。译者的笔迹和采访对插图进行了说明，重点放在四个接触点：自我与他人之间未解决的方言张力，决策的刻意，演练性质，原著与演奏/翻译之间的距离需求，