上周，我得到一次与黄哲伦促膝讨论《中式英语》的机会。
Last week, I had a chance to sit down with Hwang to discuss Chinglish.
正如黄哲伦回忆所说，他当时的剧目是“异域民族剧场”。
At the time Mr Hwang's plays were, as he recalls, "exotic ethnic theatre".
本文第一章论述黄哲伦的写作背景，分析文化身份的构成因素。
The first chapter mainly describes David Henry Huang's writing background and analyzes the constitutes of cultural identity.
南园 前五先生，指元末 明初的岭南诗人孙?、王佐、赵介、李德、黄哲五人。
The former five South China poets refer to Sun Fen, Wang Zuo, Zhao Jie, Li De and Huang Zhe of Guangdong.
盛宗亮决定把焦点放在小说核心的三角恋爱上，并且说服一开始拒绝了邀请的黄哲伦与他联手创作剧本。
Deciding to focus on the central love triangle, Mr. Sheng was able to persuade Mr. Hwang, who had rebuffed initial requests, to write the libretto.
关于这些被忽视群体的误解、危险、和幽默成了托尼奖得主黄哲伦所著的百老汇滑稽新剧《中式英文》的主要题材。
The misunderstanding, danger, and humor that come out of this invisibility are major themes in the hilarious new Broadway show, Chinglish, written by Tony award-winner David Henry Hwang.
黄哲伦在揭示其背后支配这种认知的权力架构的同时，也通过剧作中人物命运的设置表明了自己对这一问题的态度。
David Henry Hwang not only revealed the power structure dominating such cognition, but also expressed his own attitude to the issue through the destinies of his characters.
然而令人惊奇的是，黄哲伦这位美籍华人剧作家极其出色地捕捉了飞速变化的中国以及转变中的全球秩序的种种微妙之处。
But what is surprising is just how well Mr Hwang, a Chinese-American playwright, manages to capture the nuances of rapidly changing China and a shifting global order.
美国华裔剧作家黄哲伦在他的“美华三部曲”中展现了不同类型的东方形象。他笔下的东方形象有着各不相同的自我认知和生活状态。
In his trilogy of Chinese American, David Henry Hwang depicted a group of Oriental characters with different self-images and in different living conditions.
黄哲伦的＂美国华裔三部曲＂（《刚下船的人》、《跳舞者和铁路》和《家庭忠诚》）探讨了美国华裔在身份认同中矛盾、复杂的心理及意识冲突。
Ellen's Huang "The Trilogy of Americans of Chinese decent " explores the contradictions, complex psychology and conflicts of consciousness of Americans of Chinese decent in recognition of identity.
2005年，当黄哲伦来到中国时，他就在上海参观了一个这样的艺术中心。黄哲伦之前的作品包括1988年上演的获奖剧作《蝴蝶君》（M Butterfly）。
On a trip to China in 2005, Hwang, whose previous works include the award-winning 1988 play M Butterfly, visited just such an arts centre in Shanghai.
黄铭哲和叶子奇均是在王赐勇的资助下，得以继续创作。
Wang funded both Huang and Tzu so they could continue to create art.
从现实主义的绘画方式完全转向非具象而带有抽象味的画家是如此罕见的，但在90年代黄铭哲就是这样冒险追寻抽象主义的绘画方式。
Rare as it is for a realist artist to transform its painterly manner completely. in the 1990s, Huang did just that and ventured into the oppositie of realism, abstraction.
在黄铭哲90年代抽象风格之前，他已经在台湾艺坛上以写实风格享有盛名，但他对追寻艺术实践和创作并没有就此停止。
Prior to the 1990s abstract style, Huang has established himself in Taiwan as a prominent realism artist, yet his search for artistic practice did not stop there.
在黄铭哲90年代抽象风格之前，他已经在台湾艺坛上以写实风格享有盛名，但他对追寻艺术实践和创作并没有就此停止。
Prior to the 1990s abstract style, Huang has established himself in Taiwan as a prominent realism artist, yet his search for artistic practice did not stop there.
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