Abstract
In existing English literature, theatre translators often appear to be marginalised contributors to the theatrical production of their texts. The history of repertoire building of Chinese contemporary theatre, however, may tell a different story. Through a case study of Ying Ruocheng’s (1929–2003) production of his own translation of Major Barbara in 1991, this paper explores the role a theatre translator can play in the whole theatrical event, and the potential of his or her power. The study finds that a theatre translator’s role and position in the production of the translation is determined by various factors in the given translational, theatrical and socio-cultural polysystems, and that, for the translator, a higher position in the decision-making hierarchy may not be the liberating power that it appears to be.
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