焦菊隐是我国戏剧理论家和戏剧翻译家，其戏剧导演才华广为人知，但戏剧翻译家的身份却未能得到学界的足够关注。由于他的戏剧译作主要在民国时期完成，本文结合这一历史背景，通过史料研究、走访调查、文本细读、译本分析等方法，依据戏剧符号学理论，探析其戏剧翻译实践特点与思想理论，以期丰富学界对民国时期戏剧翻译史、戏剧翻译实践与戏剧翻译理论的研究，同时确立焦菊隐在戏剧翻译领域应有的地位与影响。 研究发现：1）在戏剧翻译实践上，“导演”和“表演”是焦菊隐戏剧翻译实践的两大原则，他关注语言、语调、表情、动作、调度、化妆、发型这七大戏剧符号系统。翻译时，他善用北方方言和语气词，根据语境调整译文语调，结合情境外化人物表情，偏爱动作性人物说明，通过调度指明动作方向，借助颜色词再现人物化妆，采用细节展现人物发型。这些对戏剧阅读、戏剧导演和戏剧表演都有良好的指导作用；2）在戏剧翻译思想上，他的四大翻译理论回应了翻译领域的七大问题，与古今中外的多位知名翻译理论家遥相呼应。他重视戏剧表演，讲究译剧的可演性；他关注戏剧翻译的特殊性，提出译剧时可适度改译；他将翻译视为“二度创造的艺术”；同时倡导译者建立“整体”概念。这些理念不仅与诸多翻译理论家的观念共通，也为译者的创造性发挥提供了理论依据，为人们衡量译作质量确立了标尺；3）在翻译影响上，他兼具时代性与跨时代性。在民国时期，他通过优质译剧反应社会现实，也在翻译过程中促进了我国戏剧领域与翻译学科的建设和发展。在当今时代，焦菊隐的整体全局论和“二度创造”论仍然没有过时，他译剧的主题思想对当代读者依然具有启发意义。

Jiao Juyin, a Chinese drama theorist and a drama translator, was widely known as a talented director, but was not well recognized as a drama translator. Jiao’s translation practice spanned the Republic of China era. Therefore, on the basis of the history of the era, the thesis explores the characteristics of his drama translation practice through theatrical semiology and analyses his drama translation thoughts through his essays of translation so as to enrich China’s research on drama translation during the Republic of China era, and in the meantime to establish Jiao’s status in drama translation and identify his influence on drama translation. The research finds: Firstly, in his drama translation practice, “directing” and “performing” are his two principles. His translation practice reflects his concerns about the seven systems of signs of theatrical presentation including the word, tone, mime, gesture, movement, make-up and hair-style. When translating, he made good use of northern China dialects and modal particles, adjusted the translation of tones according to contexts, externalized characters’ mimes according to situations, preferred the use of gesture descriptions, specified the direction of gestures through movements, reproduced characters’ make-ups by colors and displayed characters’ hair-styles by details, which could greatly guide drama reading, drama directing and drama performing; Secondly, in his drama translation thoughts, his theories respond to seven major issues in the field of translation, echoing many well-known Chinese and foreign translation theorists in the past and at the present. He attached importance to the stage performance and thought that the “performability” of drama translation needs to be considered; he believed that drama translation is unique, hence adaptation is required; and he proposed that translation is an “art of recreation” and translators need to view the original text as a “whole”. These theories not only bear similarities with some famous translation theorists, but also lay theoretical foundations for translators to recreate original works and provide criteria for readers to judge translation works; Thirdly, his drama translation has great impacts on the Republic of China era and the modern society. In that era, he translated some influential plays to reflect social realities. His translation efforts also promoted Chinese drama and the establishment of translation studies. For modern society, his drama translation theories are still significant and his drama translation works are still thought-provoking.