







































 Humanities and Social Science Research; Vol. 7, No. 3; 2024 

ISSN 2576-3024   E-ISSN 2576-3032 

https://doi.org/10.30560/hssr.v7n3p73 

 73 Published by IDEAS SPREAD 

 

A Study on the English Translation of Cantonese Opera: Taking the 

Subtitle Translation of The Qing Imperial Court as an Example 

Dong Wang1 Guangtao Cao2 & Jinghua Liu2 

1 English Department, Foshan University, China 

2 School of International Studies, Guangdong University of Education, Guangzhou 510303, China 

Correspondence: Dong Wang, English Department, Foshan University, Foshan Guangdong 528000, China. E-

mail: 2126426609/at/qq.com 

 

Received: November 2, 2024; Accepted: December 15, 2024; Published: December 16, 2024 

 

Abstract 

With the acceleration of globalization, the external dissemination and exchange of Cantonese opera has become a 

new topic. Subtitle translation is an important step in the overseas dissemination of Cantonese opera. Through 

making comparative analysis of the Chinese script and English translation of the Cantonese opera The Qing 

Imperial Court in the aspects of cultural element processing, dialogue style, place name and official position 

translation, this paper evaluates the translation quality of the subtitle translation of English Cantonese Opera The 

Qing Imperial Court and points out the existing problems. In order to improve the quality of Cantonese opera 

translation and ensure that the translated works can accurately convey the cultural essence and artistic charm of 

Cantonese opera, this study proposes a series of strategies and evaluation methods in the English translation of 

Cantonese opera by conducting investigation and case analysis. 

Keywords: English translation research, Cantonese Opera, The Qing Imperial Court 

1. Introduction 

Foshan is the birthplace of Cantonese opera, which, as an important part of traditional Chinese opera, carries the 

essence of Lingnan culture and the unique charm of Guangfu culture. With the acceleration of globalization, the 

external dissemination and exchange of Cantonese opera has become a new topic. However, Cantonese opera faces 

many challenges in the process of translation and introduction to the outside world, such as cultural differences 

and language barriers. In order to deepen the understanding of the essence of Cantonese opera art, and provide 

new perspectives and ideas for the inheritance and development of Cantonese opera, this paper explores the rules 

of Cantonese opera Chinese and English subtitles, English Cantonese opera, and Cantonese opera translation from 

the perspectives of communication studies, functional linguistics, and Cantonese opera English subtitle translation, 

taking the English Cantonese opera The Qing Imperial Court as an example, in order to effectively promote the 

international dissemination of Cantonese opera and enhance the international influence of Chinese opera culture.  

Subtitle translation is an important step in the overseas dissemination of Cantonese opera. Due to Cantonese being 

the main language of Cantonese opera, and overseas audiences often being unfamiliar with Cantonese, providing 

Chinese and English subtitles has become a common practice for Cantonese opera performances overseas. 

However, how to better translate Cantonese opera Chinese subtitles into English subtitles is a question worth 

exploring in depth. Currently, the translation quality of Cantonese opera subtitles varies greatly. Some translations 

are too literal and overlook the cultural background and performance characteristics of Cantonese opera; However, 

some translations are too free, resulting in inaccurate expression of the plot and characters' emotions. Therefore, 

improving the translation level and accuracy of Cantonese opera subtitles has become an important task for the 

external dissemination and communication of Cantonese opera. 

In order to improve the translation quality of Cantonese opera subtitles, it is necessary to strengthen research on 

Cantonese opera culture and performance characteristics. Translators need to have a deep understanding of 

Cantonese opera's singing style, body movements, performance techniques, and plot background in order to more 

accurately convey the plot and characters' emotions. At the same time, it is necessary to strengthen research and 

practice on English subtitle translation, and explore translation methods and techniques that are more in line with 

the characteristics of Cantonese opera. In addition, we can also learn from the experience and practices of subtitle 

translation in other theater genres, such as Peking Opera, Kunqu Opera, etc. These theatrical genres have also 



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accumulated rich experience in subtitle translation during their overseas dissemination, which can provide useful 

references and inspirations for Cantonese opera subtitle translation. 

In this study, our team members searched and watched the recorded video of the English Cantonese opera The 

Qing Imperial Court jointly performed by Dunhuang Theatre in Singapore and Guangzhou Red Bean Theatre 

Company online, extracted its Cantonese and English subtitles, and analyzed them. This opera depicts the power 

struggle between Emperor Guangxu and Empress Dowager Cixi, as well as the tragic love story between Emperor 

Guangxu and Empress Zhenfei. It also includes major historical events such as the Reform Movement, the 

Yihetuan Movement, the Sino Japanese War of 1894-1895, and the invasion of China by the Eight Nation Alliance. 

This study compares the English and Chinese scripts of The Qing Imperial Court and uses meta-analysis to analyze 

the translation differences between Chinese and English, evaluate the translation quality, identify problems, and 

propose effective strategies for Cantonese opera translation. 

2. Current Research Status on the Translation of Foshan Cantonese Opera into Foreign Languages 

As a national intangible cultural heritage, the English translation of Cantonese Opera is of great significance for 

promoting its international dissemination and cultural exchanges. However, the English translation of Cantonese 

Opera faces numerous challenges, such as language differences, cultural differences, and the preservation of the 

characteristics of performing arts. Many scholars have delved deeply into the difficulties and strategies of 

translating Cantonese Opera from different theoretical perspectives, providing useful references for improving the 

accuracy and dissemination effect of Cantonese Opera translation. 

Cai Xiaoyi (2021) adopted the theory of multimodal context parameters, combined with text analysis, case analysis, 

and quality control, to study the translation strategies for Cantonese Opera terms, culture-loaded words, and poems 

in Cantonese Opera scripts. It was found that multimodal context parameters have an important impact on 

Cantonese Opera translation, and a macro-meso-micro translation strategy was proposed to improve the accuracy 

and readability of Cantonese Opera translation. 

Yang Guifang et al. (2022) adopted the theory of Medio-translatology to study the current situation of the English 

translation and dissemination of the Cantonese Opera The Princess Cheung Ping's Romance with Toi. They 

analyzed it from five aspects: the subject, content, channels, audience, and effect of translation and introduction. 

The study found that the English translation of Cantonese Opera faces challenges such as obscure language and 

lack of cultural background, and the effect of translation and introduction is affected by multiple factors such as 

the subject of translation and introduction, translation strategies, and audience acceptance. It was proposed to 

strengthen the cultivation of translation talents, deeply explore the culture of Cantonese Opera, and utilize modern 

media to promote the "going global" of Cantonese Opera. 

Zhu Yanbing (2021) through the theory of Eco-translatology, combined with the corpus research method and the 

case analysis method, studied the adaptive selection and transformation at the lexical level of the English 

translation of the Cantonese Opera "The Princess Cheung Ping's Romance with Toi". It was found that translators 

made adaptive selections on the source language text in multiple dimensions such as the linguistic dimension, 

cultural dimension, and communicative dimension. It was proposed that in the process of translating Cantonese 

Opera into English, attention should be paid to the leading role of translators, and a translation strategy combining 

domestication and foreignization should be adopted to conform to the language expression habits and cultural 

background of the target language audience and improve the acceptance and dissemination effect of the translation. 

Yang Haoran and Zhang Yingxian (2021) utilized the theory of domestication and foreignization, combined with 

the translation strategy of cross-cultural communication, to study the translation errors and improvement strategies 

in the English translation of the Cantonese Opera "The Peony Pavilion: Startled Dream". They proposed methods 

such as transliteration, free translation, and annotation to improve the accuracy and readability of the translation 

and promote the international dissemination of Cantonese Opera culture. 

3. Comparison of Chinese and English Scripts for The Qing Imperial Court 

As a local opera, Cantonese opera contains a large number of vocabulary and expressions with Lingnan cultural 

characteristics in its scripts, which are difficult to find corresponding expressions in English. Therefore, some 

vocabulary and expressions with profound cultural backgrounds will be simplified into ordinary words in English 

translations, using a more direct translation method. Although they basically convey the meaning, they may lead 

to difficulties or misunderstandings for readers. For example, "Old Buddha" and "Father" are both translated as 

"Old Buddha". Although this translation is intuitive, in Chinese history, Guangxu called Empress Dowager Cixi 

"Father", which is a unique title that contains profound cultural connotations. It reflects the close relationship 

between Guangxu and Cixi, as well as the supreme status of Cixi. And 'Old Buddha' is a respectful title for Empress 



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Dowager Cixi, reflecting the hierarchical relationship of ancient China. However, 'Buddha' in Buddhism refers to 

the Buddha, and Empress Dowager Cixi is not a Buddhist. Therefore, such translation may cause 

misunderstandings, so it may be better to translate it as "the Empress Dowager" or "the Empress Dowager Cixi". 

In addition, translating "Yihetuan" as "Boxers" is a commonly used translation internationally, but the original 

meaning of "Boxers" is boxers. Therefore, such a vague and unexplained translation may make it difficult for 

readers to understand. 

“What translating does is to help us get inside literature” (Rose, 2007, p.13). The lines in Cantonese opera scripts 

have a classical literary style and are carefully worded. The English translation cannot showcase their cultural 

charm, such as "Man proposes and I dispose", which is concise but difficult for international readers who are not 

familiar with Chinese culture to understand its deeper meaning. English scripts are limited by English expression 

habits and sometimes appear unnatural, such as "Be patient, Your Majesty. It's a conspiracy very blatantly usurping 

and clipping your authority". Therefore, we can see that English cannot translate the elegant language art and 

poetic language of Cantonese opera scripts. 

This Cantonese opera script mentions a large number of place names and official positions. In the corresponding 

English script, translations like "daughter of governor of Anhui" and "eldest daughter of viceroy of Guangdong 

and Guangxi Province" are basically right, but not precise enough. A more professional translation may be " 

daughter of provincial commander-in-chief of Anhui Province" and "eldest daughter of  provincial commander-

in-chief of both Guangdong Province and Guangxi Province". 

The language expression in Cantonese opera scripts often has strong colloquialism and regional characteristics, 

which makes it difficult to find a direct corresponding expression in English. Therefore, in the translation process, 

it is necessary to make appropriate adjustments based on English expression habits and context. 

For example, the Chinese word“喳”is a response word from eunuchs in the Qing Dynasty court to the emperor or 

empress, with distinct cultural characteristics. In the English translation, there is no directly corresponding 

vocabulary to express this specific response. If translated simply as 'Yes, Your Majesty', although it conveys the 

basic meaning, it loses the cultural connotation of Chinese history. A better translation should take the specific 

context into consideration to create an expression that not only conforms to English expression habits but also 

reflects Chinese cultural characteristics. For example, it can be translated as "At your service, Your Majesty" or 

"Yes, Majesty, I am here", which not only reflects the humility in the response of the eunuch in ancient Chinese 

culture, but also conforms to English expression habits. 

Overall, the translation quality of English scripts is at a moderate level. It basically conveys the main plot and 

dialogue content of the Chinese script, but there are shortcomings in the preservation of cultural elements, the 

maintenance of language style, and the accuracy of details. 

(1) Accuracy: The English script is quite accurate in its basic content, but there is still room for improvement in 

some details, such as the translation of official positions and place names. 

(2) Fluency: The lines in English scripts sometimes appear too stiff and not natural enough, which may be the 

result of translating Chinese lines too directly. 

(3) Cultural Communication: English scripts try to translate Chinese cultural elements as much as possible, but 

in some cases, this preservation may confuse foreign readers, such as the use of the title "Old Buddha" for 

Empress Dowager Cixi, which may require additional explanation or commentary. Some translations are too 

straightforward, lacking the charm and deep meaning of the original Chinese sentence, and the handling of some 

vocabulary with specific cultural connotations is not appropriate enough. 

4. Investigation, Case Analysis, and Discussion 

As a local opera, Cantonese opera faces dual barriers of language and culture in its international dissemination due 

to its unique language and cultural elements, which poses challenges to the translation and international 

dissemination of Cantonese opera. On the one hand, Cantonese opera's lyrics and dialogues are mainly in 

Cantonese, which creates language barriers in international dissemination; On the other hand, the cultural elements, 

historical allusions, and folk customs contained in Cantonese opera increase the difficulty of understanding and 

appreciating. In addition, the translation quality of Cantonese opera varies greatly, which affects its international 

dissemination effect. Translation theory in communication studies regards translation activities as a cross-cultural 

process of information dissemination, emphasizing the accuracy, fluency, and cultural transmission of translation. 

This study suggests that in the English translation and introduction of Cantonese opera, the following strategies 

can be adopted by drawing on the communication studies of translation and interpreting: 

 



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4.1 Establish a Cantonese Opera Translation Language Database 

This study believes that establishing a Cantonese opera translation corpus database is of great significance and 

feasibility. It can organize personnel to collect and organize the establishment of a Cantonese opera translation 

corpus database, providing a foundation for the international dissemination and research of Cantonese opera. 

4.2 Offering Cantonese Opera Translation Courses in Universities 

This study aims to provide courses such as Cantonese opera translation for foreign language majors in higher 

education institutions, in order to cultivate versatile talents with knowledge of Cantonese opera and cross-cultural 

communication skills. These talents will play an important role in the external translation and international 

dissemination of Cantonese opera, promote Cantonese opera translation work, and improve the quality of external 

translation. 

4.3 Guiding Translation Practice with Translation Theory to Enhance the Quality and Effectiveness of Cantonese 

Opera Translation into Foreign Languages 

4.3.1 Clearly Define the Communication Subject and Target Audience 

In the translation and introduction of Cantonese opera to foreign audiences, the dissemination subject should be a 

professional translation team or Cantonese opera experts who possess profound language skills and cross-cultural 

communication abilities. The target audience is overseas audience, including groups with different cultural 

backgrounds and language habits. In the translation process, full consideration should be given to the needs and 

acceptance habits of the target audience. 

4.3.2 Choose Appropriate Communication Channels 

With the development of technology, the channels for translating and introducing Cantonese opera to foreign 

audiences are becoming increasingly diverse. In addition to traditional theater performances and television 

broadcasts, new media channels such as online platforms and social media can also be utilized for dissemination. 

These channels can cover a wider audience and enhance the popularity and influence of Cantonese opera. 

4.3.3 Analyze Language Functionality 

“The language of drama is different from that of novels, prose, and general poetry. Compared to the former, it is 

more like poetry, even if it is a drama written in prose, its language should be poetic and full of poetic flavor; 

Compared to the latter, it has more descriptive, popular, colloquial, and personalized qualities of a novel. It is a 

third literary language that combines the characteristics of both and is different from both” (Wang, 2009, p.142). 

When translating Cantonese opera scripts, attention should be paid to analyzing the language functions of the 

original text, including conceptual functions, interpersonal functions, and discourse functions. Conceptual function 

refers to the reflection and description of the objective world by language; Interpersonal function refers to the 

interactive role of language in interpersonal communication; Discourse function refers to the organizational 

structure and coherence of language in expressing meaning. By analyzing the language function of the original 

text in depth, translators can more accurately grasp the intention and style of the original text. 

4.3.4 Optimizing Translation Strategies and Methods for Evaluating Translation Quality 

“The translation of drama requires higher language arts and deeper cultural understanding, as well as more cross-

cultural communication and creativity, and more empathetic understanding and expression” (Wang, 2007, p.7). 

When translating Cantonese opera scripts, in order to ensure accuracy, fluency, and effective cultural 

communication, translators should pay attention to the accuracy of content and diversity of form. Translation is 

not only the conversion of language symbols, but also the transmission of cultural connotations. Therefore, in the 

process of translation, translators should pursue functional equivalence rather than formal equivalence, that is, to 

accurately reproduce the conceptual meaning, interpersonal meaning, and discourse structure of the original text 

in the target language as much as possible, ensuring that the translation is functionally consistent with the original 

text. Taking the English lyrics of the Cantonese opera The Qing Imperial Court as an example, this paper proposes 

some important translation strategies. At the same time, in order to improve the quality of Cantonese opera 

translation and ensure that the translated works can accurately convey the cultural essence and artistic charm of 

Cantonese opera, this study proposes a new quality evaluation method under the guidance of Communication 

Studies of translation and interpreting and Functional Translation Theory. 

 

 

 



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The translation strategy and evaluation method are proposed as follows: 

① Annotation Method 

For cultural elements, historical allusions, and other content in Cantonese opera that are difficult to translate 

directly, translators can use annotation to explain and clarify. For example, in The Qing Imperial Court, the titles 

"Old Buddha" and "Father" have rich cultural connotations, and if translated directly as "Old Buddha", it may 

cause misunderstandings. Therefore, it is recommended to add annotations in the translation, explaining as “a title 

of respect used by court officials and the emperor to address the Empress Dowager Ci Xi" and "an affectionate 

title used by Emperor Guang Xu to address the Empress Dowager Ci Xi", to help readers better understand the 

cultural connotations and historical background of Cantonese opera. 

② Transliteration Method 

Transliteration is a commonly used translation strategy for proprietary terms, personal names, place names, etc. in 

Cantonese opera. This helps to preserve the original flavor of Cantonese opera while facilitating international 

readers' understanding and memory. For example, in The Qing Imperial Court, "Emperor Guangxu" and "Empress 

Dowager Cixi" can be transliterated as "Guang Xu Emperor" and "Ci Xi Empress Dowager", which preserves the 

original pronunciation and is easy for international readers to recognize. 

③ Integration Strategy of Domestication and Foreignization 

When translating Cantonese opera lyrics and dialogues, translators should flexibly adopt domestication or 

foreignization strategies according to specific situations. The domestication strategy can make the translation more 

in line with the expression habits and cultural background of the target language readers, while the foreignization 

strategy can help preserve the cultural characteristics and artistic charm of Cantonese opera. For example, in The 

Qing Imperial Court, the line “谋事在人成事在天” can be translated as "Man proposals, God disposals" using 

domestication strategy, which not only conveys the original meaning but also conforms to English expression 

habits. For some words with unique cultural characteristics, such as the Chinese word "喳" (a response word for 

eunuchs in the Qing Dynasty), alienation strategies can be adopted and explanations can be added, translated as 

"Zha (an imperial response word used by eunuchs in the Qing Dynasty)", to preserve cultural features. 

④ Contextual Analysis Method 

When translating Cantonese opera, translators should fully consider factors such as contextual context, situational 

context, and cultural context. This helps to convey the meaning and emotions of the original text more accurately, 

improving the authenticity and naturalness of the translation. For example, through contextual analysis in The Qing 

Imperial Court, the emotional color and contextual information of the original text can be better reflected. 

⑤ Give Equal Importance to both Meaning and Flavor in Translation 

When translating Cantonese opera, translators should pay attention to the combination of translation meaning 

meaning and flavor. Translation meaning is the foundation of translation, which involves accurately conveying 

the conceptual meaning of the original text; And the translation style focuses on the reproduction of the emotions, 

style, and charm of the original text in the translation. In the translation of Cantonese opera lyrics in The Qing 

Imperial Court, it is not only necessary to accurately convey their literal meaning, but also to preserve their 

musicality and rhythm as much as possible. Translators can reproduce the charm and style of the original text by 

selecting appropriate English vocabulary and sentence structures, as well as adjusting word order and rhythm 

appropriately. 

⑥ Evaluation of Communication Effectiveness 

Drawing on the 5W model in communication studies, evaluate the dissemination effect of Cantonese opera 

translation and introduction to the outside world. Specifically, attention should be paid to the disseminators (i.e. 

translators), content (i.e. Cantonese opera scripts and their translations), target audience (i.e. overseas audiences), 

communication channels (such as international art festivals, online platforms, etc.), and communication effects 

(such as audience feedback, media coverage, etc.) of the translated text. Collect feedback from overseas audiences 

on Cantonese opera and its translations through questionnaire surveys, social media feedback, etc., to understand 

their understanding and acceptance of Cantonese opera culture, as well as improvement suggestions. 

⑦ Functional Equivalence Evaluation 

Based on the translation theory of systemic functional linguistics, evaluate the equivalence between the translated 

text and the original text in terms of conceptual function, interpersonal function, and discourse function. This 

requires translators not only to accurately convey the meaning of the original text, but also to preserve its cultural 

charm and emotional expression. Firstly, evaluate whether the conceptual functions are equivalent, that is, evaluate 



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whether the translation accurately conveys the meaning and information of the original text. Secondly, evaluate 

whether the interpersonal function is equivalent, that is, whether the translation retains the emotional expression 

and interpersonal relationships of the original text. For example, whether the classical literary style and colloquial 

expression in Cantonese opera lines have been appropriately handled in translation to reflect the relationships and 

emotional communication between characters. Finally, evaluate whether the discourse function is equivalent, that 

is, whether the translation maintains the discourse structure and coherence of the original text. For example, in the 

translation of The Qing Imperial Court, the translation needs to be consistent with the original text in terms of 

logic, coherence, and continuity, so that overseas audiences can better understand the plot development. 

⑧ Context Adaptation Assessment 

Analyze the adaptability of the translation in different cultural contexts. Due to the strong Lingnan cultural 

characteristics of Cantonese opera, translators need to fully consider the cultural background and expression habits 

of the target language in the translation process, so as to make the translation more in line with the cognition and 

understanding of overseas audiences. Firstly, valuate the translation's handling of cultural elements in Cantonese 

opera and whether appropriate translation strategies have been adopted to preserve or interpret these cultural 

elements. For example, the term "Yihetuan" in The Qing Imperial Court is translated as "Boxers", which, although 

commonly used internationally, may require additional explanation to help overseas audiences understand its 

historical background. Secondly, evaluate whether the translation retains the language style of Cantonese opera 

lines, such as classical literary style and colloquial expression. For example, whether the poetic and ornate 

language in Cantonese opera lines has been appropriately reproduced in translation to reflect the artistic 

characteristics of Cantonese opera. Thirdly, evaluate whether the translation fully considers the cultural context 

and expression habits of the target language, making the translation more relevant to the cognition and 

understanding of overseas audiences. For example, when translating specific titles, customs, etc. in Cantonese 

opera, it is necessary to use expressions that are in line with the cultural background of the target language. 

The study believes that the translation strategies and evaluation methods proposed above can play the role of 

"conveying essence and meaning", which is proposed by the famous translation theorist Mr. Wang Rongpei, who 

notes that the principle of "conveying essence and meaning" “can be a kind of translation criticism theory” (Wang 

& Men, 2010, p.7).  

5. Conclusion 

With the deepening development of globalization, cultural exchanges have become increasingly frequent, and the 

external dissemination and exchange of Cantonese opera has become an important topic.  

Through research of the English translation of Foshan Cantonese opera by taking the English Cantonese opera The 

Qing Imperial Court as an example, this study provides scientific analysis and suggestions for the translation of 

Cantonese opera, and proposes a series of strategies and evaluation methods in the English translation of Cantonese 

opera, so as to promote Cantonese opera to better enter the world stage. 

Acknowledgements 

This is one of the findings of the 2024 Foshan social science project “Research on the English Translation of 

Foshan Cantonese Opera”(2024-GJ036). 

About the Author  

1 Dong WANG (1969-04), male, Han, Born place: Zhengzhou City, Henan Province, Title: Lecturer, Master of 

English Language and Literature, Research Direction: British and American Literature; English language.  

2 Guangtao, CAO (1971-11), male, Han, Born place: Minquan County, Henan Province, Title: Professor, Doctor 

of Ancient Chinese Literature, Research Direction: British and American Literature; drama translation.  

3 Jinghua, LIU (2004--05), female, Han, Born place: Guangzhou City, Guangdong Province, Title: Major of 

English (Normal), Grade 2022, the School of International Studies, Guangdong University of Education. 

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