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1 Introduction

This section discusses the challenges in the overseas dissemination of Chinese opera, particularly issues such as literariness versus performativity, differences versus similarities, and foreignization versus domestication in the translation process. The linguistic and cultural characteristics of opera pose a dual challenge for translators, who must both showcase its unique charm and overcome communication barriers. French sinologist André Lévy's complete French translation of The Peony Pavilion is regarded as a successful case, offering valuable insights for the global promotion of Chinese opera. This article will analyze Lévy's translation strategies and explore possible pathways for Chinese opera to reach a worldwide audience.

2 Mutual Enrichment of Translation and Research: Lévy’s Translation and Study of The Peony Pavilion

French sinologist André Lévy’s translation practice is deeply intertwined with his academic research, embodying the concept of "mutual enrichment of translation and research." Influenced by the French Annales School, Lévy’s academic background led him to introduce a "total history" perspective into the study of Chinese classical literature, transcending mere artistic value judgments to explore literary evolution from multiple dimensions. He translated numerous classical Chinese literary works, including The Plum in the Golden Vase, Journey to the West, and Strange Tales from a Chinese Studio, and in 1998, he became the first to translate the complete The Peony Pavilion into French. Lévy’s sinological research treats classical literature as both a knowledge repository and a social text, focusing on the insights it provides into historical Chinese society. His engagement with The Peony Pavilion began in the 1980s, starting with a review of Cyril Birch’s English translation, followed by in-depth studies on its structure, musicality, and the relationship between Tang Xianzu’s personal experiences and the intellectual liberation movement of the late Ming dynasty. Lévy’s translation practice and academic research mutually reinforced each other, with his French translation’s introduction becoming a key scholarly reference for interpreting the work. His translation and study of The Peony Pavilion exemplify the characteristics of a scholar-translator.

3 Serving Translation: Lévy’s Motivations for Translating The Peony Pavilion

This section explores the motivations behind French sinologist André Lévy’s translation of The Peony Pavilion, which can be summarized in three aspects: First, the novelty and classical stature of The Peony Pavilion captivated Lévy, as its aesthetic originality established it as an operatic masterpiece. Second, the linguistic alterity of Chinese played a significant role in Lévy’s motivation; he was particularly concerned with preserving the "poison" (i.e., the foreign essence) of the source language in translation. Third, Lévy sought textual completeness in his translations, dissatisfied with existing versions, and thus resolved to produce a full French translation of The Peony Pavilion. These three "calling structures" drove Lévy’s translation efforts and shaped his translational stance and strategies.

4 Different Approaches, Same Excellence: Lévy’s Translation Strategies for The Peony Pavilion

This section delves into the translation strategies employed by French sinologist André Lévy in his rendition of The Peony Pavilion. Lévy recognized the dual nature of Chinese opera—both as literary text and performance art—and sought to convey the original’s charm and spirit while considering the function and target audience of the translation. His approach was not confined to a single method; instead, he flexibly alternated between foreignization and domestication depending on the text’s content and cultural elements. In translating, Lévy paid close attention to the interplay between the written and performative aspects of opera, meticulously selecting vocabulary and structuring sentences to preserve the original’s literary beauty and rhythm. He also placed special emphasis on rendering cultural elements, respecting the source text’s distinctiveness while ensuring accessibility for target-language readers. Through techniques such as transliteration, intratextual explanations, and imagery adaptation, Lévy’s translation remained faithful to the original while remaining comprehensible. His work reflects his commitment to "fidelity" and his efforts to strike a balance between preserving difference and overcoming it.

5 Conclusion

André Lévy dedicated himself to the translation and study of Chinese classical literature. Although his French translation of The Peony Pavilion contains occasional misinterpretations and errors, it demonstrates a profound respect for cultural alterity and a commitment to cross-cultural dialogue. His work offers invaluable insights for Sino-French cultural exchange and the translation of Chinese opera for global audiences.

(Note: André Lévy is the standard French spelling of the sinologist's name, though "Lévy" may sometimes appear as "Levy" in non-accented contexts.)