The publication of dramatic texts designed initially to be performed on stage requires a form of translation from one medium to another. While a play in manuscript might be subject to modification in the rehearsal stage, a printed version is intended to preserve the text in a more fixed form. Molière became involved in the Paris printing world in order to maintain authorial and commercial control of his works. Yet the printing of his works allowed them to travel beyond the bounds of Paris and France. From the early 1660s onwards many of his plays were translated quickly in England, where there was high demand for dramatic material following the closure of the theatres during the interregnum. The translators of Molière took on the role of seeing new versions of his work put through the printing press and by the early eighteenth century collected works of Molière were published in translation. Far from the translators making themselves invisible, they used publication techniques to advertise their changes. In doing so they demonstrate engagement with the French sources and encourage readers to keep in mind the plays’ stage histories.

中文翻译：

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印刷阶段：Molière早期英文版中演奏，印刷和翻译之间的关系

最初设计为要在舞台上表演的戏剧性文本的出版需要从一种媒介到另一种媒介的翻译形式。虽然手稿剧本可能会在彩排阶段进行修改，但印刷版本的目的是将文本保留为更固定的形式。莫里哀开始涉足巴黎印刷界，以保持对其作品的创作和商业控制。然而，他的作品印刷使他们得以跨越巴黎和法国的疆界。从1660年代初开始，他的许多剧本在英格兰迅速翻译，在那里，由于州际戏院在剧院关闭后，对戏剧材料的需求很高。莫利埃（Molière）的翻译担当着看印刷工作的新版本的角色，并在18世纪初将莫利埃（Molière）的精选作品翻译出版。他们远离译者使自己看不见的地方，而是使用出版技术来宣传自己的更改。在这样做的过程中，他们表现出与法国媒体的互动，并鼓励读者记住戏剧的舞台历史。