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As one of Lao She’s masterpieces, Teahouse is a gem and a milestone in Chinese drama which is renowned both domestically and internationally. This article examines the translation of Beijing dialects in two English versions of Teahouse translated by Ying Ruochen and Howard from the perspective of reception aesthetic theory. The results indicates that Ying’s version focuses on stage performance, using simple or concise language which to some extent differs from the aesthetic expectations of the target language readers, while Howard’s translation, aiming at readers’ acceptance, tends to employ formal expressions and lengthy sentence structures, which are less suitable for stage presentation and performance.By revealing the translation differences in local dialects in the versions under this theoretical framework, this paper is hoped to provide valuable insights for translation studies and practice.
Yu Du (Sat,) studied this question.