1 Introduction

Introduces Jean-Paul Sartre as a renowned 20th-century French philosopher and the difficulty of his philosophical works, emphasizing the importance and influence of Sartre's theatrical works in disseminating his philosophical ideas. It notes that Sartre's theatrical works are not only abundant but also propose new dramatic theories and genres, such as the "théâtre de situations." At the same time, it points out discrepancies in the Chinese translations of "théâtre de situations" and aims to examine and explore the most appropriate translation.

2 Overview of Research on Sartre's Plays and Dramatic Theory in China

Reviews the history of research on Sartre's plays and theories in China. Before the 1980s, Sartre's works were little known in China. After Sartre's death in 1980, Chinese academia began to focus on his plays, and related papers and works gradually increased. By the time of the survey, there were over 180 papers on Sartre's plays in the China National Knowledge Infrastructure (CNKI), nearly half of which were individual studies. Representative papers from the 1980s include those by Shi Kangqiang, Li Li, Yang Changlong, Dai Ping, and Zhang Min. After the 1990s, the research of Ran Dongping and Jiang Long stood out. In terms of monographs, Jiang Long's *Interpreting Existence: Playwright Sartre and Sartre's Plays* and Wang Qiang's *Sartre's Drama Lessons* are notable. Additionally, works by Liu Mingjiu, Xu Chongwen, Du Xiaozhen, Yan Wei, Li Ke, Gao Xuanyang, Yang Changlong, and Li Feng also touch on Sartre's plays. Numerous translated works, such as those by Jeanson, Lévy, Lick, and Daigneault, also analyze and evaluate Sartre's plays.

3 Discrepancies in the Chinese Translation of "Situation"

Explores the discrepancies in the Chinese translation of the core concept "situation" in Sartre's plays. By examining relevant research works and Chinese translations of Sartre's writings, it finds that "situation" has been translated mainly as "境遇" (jingyu), "情境" (qingjing), "处境" (chujing), and "境况" (jingkuang), with a few other translations such as "环境剧" (huanjingju, "environmental theater") and "形势戏剧" (xingshixiju, "situation drama"). Authors use these translations in various ways: some consistently use the same term, some mix different terms, some use different terms for the genre name and specific discussions, some change terms over time, some alternate terms after noting synonyms in the text, and a few advocate for selecting a single term. French-Chinese dictionaries on the market also differ in their translations of "situation," with "境遇" being less commonly chosen. Although some scholars suggest unifying the translation, no consensus has been reached. The author will re-examine and explore the Chinese translation of "situation" from different perspectives to find the most appropriate version.

4 The Meaning of "Situation" in Dictionaries and Sartre's Theory

Examines the multiple meanings of "situation" in dictionaries and Sartre's theory. In French dictionaries, "situation" has seven extended meanings, of which items 1, 6, and 7 are relevant here: (1) the sum of a person's mental or material conditions at a specific moment, (6) a specific moment in the plot of a literary or dramatic work, and (7) the sum of concrete relationships that determine action at a specific moment in personal history. The concept of "situation" in Sartre's plays originates from his philosophical theory, emphasizing human freedom of choice in specific circumstances. Sartre argues that from the moment a person is thrown into the world, they are always in a "situation." This concept is elaborated in *Being and Nothingness*, encompassing five main elements: my position, past, surroundings, neighbors, and death, emphasizing "my situation." A "situation" is temporary and may change at any moment due to shifts in surrounding circumstances.

5 The Meanings of "情境" (Qingjing), "境遇" (Jingyu), "境况" (Jingkuang), and "处境" (Chujing)

Explores the meanings of the four Chinese translations—"情境," "境遇," "境况," and "处境"—and their application in translating Sartre's plays. The article first analyzes the semantic evolution of the character "境" (jing), from its literal meaning of "boundary" or "border" to its abstract use in terms of spiritual realms, Buddhist terminology, and aesthetics. It then discusses the differences in the definitions of the four terms across dictionaries and cites *The Great Encyclopedia of China: Theater Studies* for its definition of dramatic "situation," highlighting its importance in theater. However, since Sartre's concept of "situation" differs from the traditional dramatic "situation" and emphasizes "my situation," "情境" is deemed unsuitable as a translation. The article further examines "境遇," noting that it adds a sense of "encounter," which does not fully align with the original meaning of "situation." Finally, it concludes that "处境" and "境况" are very similar in meaning, but based on the etymology of "situation" and the structure of Chinese compound nouns, "处境" is more fitting as the translation. Sartre's plays should thus be called "处境剧" (chujingju, "situation plays"). Additionally, the article cites Sartre's emphasis on the action of "being in" (or "existing") as an essential part of the concept, further confirming that "处境" is the best Chinese translation for "situation."

6 Conclusion

Emphasizes the importance of in-depth discussion on the concept of "situation" in Sartre's plays for accurately grasping their core. It points out the adverse effects of multiple translations of "situation" in Chinese on academic research and communication. The article argues that the translation of philosophical terms should strive for uniformity, prioritizing literal meaning over explanatory definitions while considering conventional usage. Translators need to collaborate and discuss to reach a consensus. Since the "situation" in Sartre's plays stems from his philosophical theory and its original meaning of "position one is in," "ma situation" should be understood as "the state of things I am in." Therefore, translating Sartre's plays as "处境剧" (chujingju, "situation plays") is most appropriate to reflect human freedom of choice in "极限处境" (jixian chujing, "extreme situations").