Relevant bibliographies by topics / Theatre translation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Theatre translation'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Theatre translation"

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Aaltonen, Sirkku. "Theatre translation as performance." Target. International Journal of Translation Studies 25, no. 3 (2013): 385–406. http://dx.doi.org/10.1075/target.25.3.05aal.

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In 2008, the Finnish National Theatre produced the Lebanese/Canadian playwright Wajdi Mouawad’s tragic play Incendies in Finnish. The advertisements, newspaper pre-reviews and reviews named Reita Lounatvuori, a well-known Finnish theatre translator, as the author of the translation. However, several other people were also involved in the translation process before Mouawad’s text reached the stage. In my article, I offer an empirical study of the process of translation of Incendies into Finnish to argue that translations in the theatre are not objects of art but products of art worlds, bearing the fingerprints of many subjectivities. To support my argument, I draw on Actor-Network Theory, as recently developed in the context of translation sociology (Buzelin 2007, 2005; Bogic 2010), and on Performance Studies, following Richard Schechner’s articulation of the concept of performance (Schechner 2013). I apply these models to the specific context of the theatre, the specific genre of drama, and the process of translating one play. This interdisciplinary exploratory study argues for the relevance of Schechner’s analytical model, and more broadly of Performance Studies, to the analysis of interlingual translation processes.
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Johnston, David. "Professing translation." Target. International Journal of Translation Studies 25, no. 3 (2013): 365–84. http://dx.doi.org/10.1075/target.25.3.04joh.

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Drawing on scholarship in translation ethics (Berman 1992; Cronin 2003) and performance studies (Conquergood 2002; Jackson 2004), this article approaches translation in the theatre from the double perspective of theory and practice. Professing translation as a model for the resolution of entrenched binaries (scholar/artist; theoretician/practitioner), the author sees the practice of translating for performance not just as a method of discovery or a hermeneutic tool but also as a mode of reflection that brings together both “readerly” and “writerly” approaches to text (Barthes 1974). By drawing on the experience of writing translations of García Lorca for the Belgrade Theatre, Calderón for the Royal Shakespeare Company, and Lope de Vega for the Watermill Theatre and the Washington Shakespeare Theatre, the article attempts to characterise such translation as an act of physical imagination, of a holistic understanding of both language and performance, into which textuality is incorporated and by which it is superseded.
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Fernandes, Alinne Balduino P. "Performing Translation as Practice-Led Research: The Case of Carr’s “By the Bog of Cats…” in Brazil." Aletria: Revista de Estudos de Literatura 25, no. 2 (2015): 311–29. http://dx.doi.org/10.17851/2317-2096.25.2.311-329.

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This article offers a retrospective analysis of aspects of my translation for the stage of Marina Carr’s By the Bog of Cats… into Brazilian Portuguese. By focusing on the iterative aspects of theatre translation as well as the translation of dialect, this article will elaborate the notion that theatre translation takes place at both individual and collaborative levels in which the translator works in dramaturgical capacity. These two levels cannot be dissociated because they constantly influence and inform one another. Although theatre translation begins as an individual task, originating in the complex act of reading the play-text, its final trajectory is deeply influenced by the creative insights of the production team. The overarching objectives of this article are, therefore: firstly to account for the overall process of translating for the stage, from the early drafts of the translation to the rehearsal process, and ultimately to the staged reading of the play; and secondly, to offer a narrative for how the cultural encounter between the exporting and importing cultures has taken place through translation and theatrical performance.
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Marinetti, Cristina. "Translation and theatre." Target. International Journal of Translation Studies 25, no. 3 (2013): 307–20. http://dx.doi.org/10.1075/target.25.3.01mar.

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The last two decades have seen an increasing interest from different quarters in exploring the territory that exists between translation and theatre. Examining discussions of the nature of drama and theatre—that see them as performative rather than representative entities (Worthen 2003; Schechner 2002)—this article argues for a rethinking of the interdisciplinary relations between translation and theatre in the context of wider debates over the value of interdisciplinarity in translation studies (Pym 1998; Chesterman 2010; Bassnett 2012). Drawing on the contributions to this special issue, the social dimension of translation and the performative nature of culture are brought to the fore as productive new ways of studying translation in the theatre as a performative and social as well as a linguistic practice.
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Brisset, Annie, and Lynda Davey. "In Search of a Target Language." Target. International Journal of Translation Studies 1, no. 1 (1989): 9–27. http://dx.doi.org/10.1075/target.1.1.03bri.

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Abstract In nationalist Quebec, French is rejected as the bearer of a foreign culture in the same way that the Québécois' native land, despoiled by the English, has become the country of the Other. Theatre, more than anything else, lent itself to the task of differentiation allotted to language. As of 1968 the vernacular has become the language of the stage as well as of theatre translation such as the exchange value of both foreign works and French translations from France increasingly erodes. Translating "into Québécois" consists in marking out the difference which opposes French in Quebec and so-called French from France. Since, however, the special quality of Québécois French is truly noticeable only among the working classes, Québécois theatre translations are almost always marked by proletarization of language and lowering the social status of the protagonists, thereby increasing the translation possibilities first and foremost of American sociolects.
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Zuber-Skerritt, Ortrun. "Towards a Typology of Literary Translation: Drama Translation Science." Meta 33, no. 4 (2002): 485–90. http://dx.doi.org/10.7202/004168ar.

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Abstract Based on the ideas of my two edited books The Languages of Theatre (Problems in the Translation and Transposition of Drama) and Page to Stage (Theatre as Translation), this paper attempts to arrive at a typology of translation which deals with both the translation of drama from one language and culture into another and with the various aspects of transposing the dramatic script on to the stage or, vice versa, the creation of drama through processes of theatre production. The focus is on those aspects of drama translation which are different from other forms of literary translation, e.g. on problems of semiotics (i.e. translating non-verbal signs in drama). The paper concludes with recommendations for future developments in drama translation research, including the production process, Le. the transposition from the written (translated) drama to the performed work of art, and the conceptualisation of the production process.
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Nichols, Glen. "Trading Partners: New Views on Theatre Translation in Canada." TTR : traduction, terminologie, rédaction 15, no. 1 (2003): 117–35. http://dx.doi.org/10.7202/006803ar.

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Abstract What kinds of modern Canadian plays are most often translated or adapted for production elsewhere in Canada or overseas? How many modern Canadian plays are translations or adaptations of non-theatrical originals (novels, poetry, fairy tales)? Where can one find out if a translation of a Canadian play is available? These are among the questions addressed by the catalogue From Around the World and at Home: Translations and Adaptations in Canadian Theatre, the first comprehensive database of Canadian theatre translations. This paper examines the two basic questions of translation in Canadian theatre as revealed by the database, not from the usual point of view of one or several individual works looked at closely, but from the broader perspective of a large statistical overview: 1. What is the state of theatre translation within the borders of Canada? That is, what transfers are happening between linguistic groups within Canada? And what role do inter-generic translations play here? 2. Are there regional variations in terms of overseas influence? In other words, do different parts of Canada look to different parts of the world for theatrical sources? Published by Playwrights Union of Canada in 2001, the Catalogue contains over 3000 separate entries, including source and target references to Canadian plays translated for production or publication either inside or outside Canada, and Canadian plays which are themselves translations of other domestic or overseas pieces. With the term “translation” including generic as well as linguistic transfers, the Catalogue is designed to serve as both a reference source and the basis for more detailed analysis of the ongoing role of translation in Canadian theatre.
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Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse and individuality. The paper is focused on researches on Ying’s text choice and his dramatic dialogue translation to explore the characteristics of his theatre translation and influence. The study selected his two well known translations and productions in the target theatre Death of a Salesman (English to Chinese) and The Family (Chinese to English) as case studies. Text processing software Concordance 3.0 and TextPreProcessing were used to collect appropriate data. Through the careful data analysis from the aspects of word frequency, sentence length, discourse markers and deixis, Ying Ruocheng’s idea of performability in theatrical translation were proved to be true, which demonstrates his discriminating taste of dramaturgical art and his great influence on Chinese modern drama.
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Ladouceur, Louise. "Surtitles take the stage in Franco-Canadian theatre." Target. International Journal of Translation Studies 25, no. 3 (2013): 343–64. http://dx.doi.org/10.1075/target.25.3.03lad.

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Faced with the need to expand their audience, small Franco-Canadian theatre companies are experimenting with various on-stage translative strategies, such as surtitles, to reach audiences with diverse linguistic and cultural profiles. Not only do they explore their bilingualism in plays that incorporate Canada’s two official languages, they enhance the bilingual aesthetics of the original play with the use of surtitles. In addition to conventional surtitles translating the source text delivered orally on stage, creative surtitles transmit new messages and thus multiply the possible readings generated by the performance. Thus, translation achieves a certain autonomy within the theatre production and, in doing so, redefines its function while challenging the existing theoretical models applied to the translation of dramatic texts.
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Brodie, Geraldine. "Theatre translation in performance." Perspectives 24, no. 3 (2016): 519–22. http://dx.doi.org/10.1080/0907676x.2015.1126108.

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Dissertations / Theses on the topic "Theatre translation"

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Musca, Szabolcs. "Translating dramaturgies : theatre translation practices in the twenty first century." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.687268.

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The present dissertation is concerned with the interplays between translation and theatre, bringing together an array of creative practices rarely discussed together in previous scholarship. As this thesis shows, the process of theatre translation incorporates a multitude of creative practices that contribute to the linguistic, theatrical and cultural transfers between foreign texts and target theatrical contexts. Throughout the dissertation, overlaps and interactions between translation, adaptation and dramaturgy will be discussed reconsidering the borders of such practices. The dissertation introduces dramaturgy to the debate as a synthesising process through which translation and adaptive strategies generate meaning on- and off-stage. The thesis presents a holistic approach, one that acknowledges theatre translation as a continuum of creative practices (e.g. translation, adaptation, dramaturgy, devising) - both textual and performative - that shape and are shaped by theatre practices, theatrical systems and traditions, hence also directly contributing to the expansion of literary, theatrical and cultural canons. The dissertation wishes to facilitate and contribute to a theatrical turn in the discourse, by establishing translation within theatre. The dissertation situate itself in a cross-disciplinary space drawing on a variety of perspectives from Translation Studies, translation and identity, Theatre Studies, theatre histories, performance analysis, dramaturgy, minority theatre, sociological approaches to theatre, Adaptation Studies and Cultural Studies. Crossing thematic, disciplinary, cultural, theoretical as well as physical/geographical borders is an important feature of the dissertation and reflects both the multifaceted ness of contemporary theatre (and theatrical activities) and the interdisciplinary nature of present-day scholarly discourses. The issues presented in this dissertation will be supported by a diversity of examples featuring theatre productions from a multitude of social, cultural and national contexts using a variety of approaches to theatre making
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Pasini, Annamaria. "Translating Theatre, Translating Culture." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Translating is never about translation word for word of a given piece. Whenever we translate, a series of other factors are to be taken into consideration and some sort of collateral translations are brought along. One of the most important aspects to consider is the audience the text is going to be translated for and consequently its culture. When it comes to translating for the theatre, and for the screen as well, we have even more factors to consider, such as the surrounding scene, some degree of musicality, some gestures, probably a scenography and something happening around. Theatre translation is in fact one of the most complex and multifaced types of translation. The aim of this essay is to investigate the relation between language and culture, to show what happens when translating for theatre, to explain what is the role of a translator in this field.
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Binge, Ludwig. "Television theatre : investigating the possibility of a translation of Afrikaans theatre to screen." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86320.

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Thesis (MA)--Stellenbosch University, 2014.<br>ENGLISH ABSTRACT: South African theatre and especially Afrikaans theatre has become increasingly dependent on the annual arts festivals. These events only last for a week at a time and most productions are unable to make the move to a larger, more commercial urban venue, and are therefore unable to survive beyond the festival. In addition to being lost to future audiences, little attempt is made to keep record of these productions, which makes research surrounding festival productions very problematic. Television has the ability to make audio-visual records of events and to showcase them to a large audience. The primary aim of this study was to investigate the possibility of translating theatre to television for the purpose of expanding the potential audience of Afrikaans theatre productions, while simultaneously making audio-visual records of these events. After the possibilities had been examined, the study began to construct a proposed mode of operation for a season of Afrikaans theatre on television. International trends in the practice of translating theatre to screen were examined which included film and television adaptions of stage plays and live recordings of stage plays. The most significant initiative the study encountered was the NT Live (National Theatre Live) project that records live performance on the stages of the National Theatre, while simultaneously transmitting them live in high definition to cinemas across the globe. The study then shifted its focus to South Africa where it determined what had been done in the practice of translating theatre to screen in this country. The struggle to obtain sufficient and easily accessible information on local examples proved that there is an overall lack of theatre documentation and archiving in South Africa. It also found that South Africa did not have an equivalent to a project such as the NT Live. After discovering that there have been South African television endeavours that involved the recording of live performance, the study used the NT Live initiative as case study in constructing a South African model for television. While constructing a proposed mode of operation for a series of Afrikaans theatre on television, it was indicated how these recordings could serve as a documentation process and research resource for productions. Three possible models for translating theatre to television were constructed to better determine what the possibilities were in terms of the content and format of such a series.<br>AFRIKAANSE OPSOMMING: Suid-Afrikaanse teater en veral Afrikaanse teater, is besig om al hoe meer afhanklik van die jaarlikse kunstefeeste te word. Dié geleenthede duur gewoonlik net ‘n week op ‘n slag en vir meeste produksies is dit nie moontlik om ‘n speelvak in die groter, kommersiële teaters in die stede van die grond af te kry nie en dus het die produksies nie ‘n lewe ná die fees nie. Verder gaan moontlike gehore ook verlore en word daar nie veel van ‘n poging aangewend om die produksies te dokumenteer nie, wat navorsing rondom feesproduksies baie problematies maak. Televisie het die vermoë om oudio-visuele rekords van gebeure te maak, sowel as om hierdie gebeure aan ‘n groot gehoor bloot te stel. Die hoofdoelstelling van hierdie studie was om die moontlikheid van ‘n verplasing van teater na televisie te ondersoek, met die doel om Afrikaanse teaterproduksies se potensiële gehoor te verbreed en terselfdertyd oudio-visuele rekords van hierdie produksies te maak. Nadat die studie die moontlikheid ondersoek het, het dit ‘n voorgestelde modes operandi vir ‘n seisoen van Afrikaanse teater vir televisie begin konstrueer. Die studie het internasionale tendense in die praktyk van die verplasing van teater na die groot en klein skerm ondersoek. Die voorbeelde het film- en televisieverwerkings van verhoogstukke, sowel as lewendige opnames van verhoogproduksies ingesluit. Die merkwaardigste inisiatief wat die studie teëgekom het, is sekerlik die NT Live (National Theatre Live) projek, wat lewendige opnamens van toneelopvoerings op die National Theatre se verhoë in London maak en terselfdertyd hierdie opnames lewendig in “high definition” uitsaai na film-teaters regoor die wêreld. Daarna het die studie die fokus verskuif na Suid-Afrika om te probeer vasstel wat al in hierdie land gedoen is in die verplasing van teaterproduksies na die skerm. Die gebrek aan maklik-verkrybare en toeganklike inligting het dit duidelik gemaak dat daar ‘n algehele gebrek aan teaterdokumentasie en die bewaring daarvan is. Die studie het ook ontdek dat Suid-Afrika nie iets soortgelyks aan die NT Live inisiatief het nie. Nadat daar televisieprojekte ontdek is wat wél in een of ander manier die opname van lewendige opvoerings behels, het die studie besluit om die NT Live inisiatief as gevallestudie te gebruik om ‘n Suid-Afrikaanse model vir televisie te skep. In die proses om ‘n moontlike produksieproses vir ‘n seisoen van Afrikaanse teater of televisie te definieer, het die studie ook probeer vasstel hoe hierdie tipe opnames kan dien as ‘n dokumentasieproses en navorsingsbron vir produksies. Drie moontlike modelle vir die verplasing van teater na televisie in reeksvorm is geskep om ‘n beter idee te kry van wat die moontlikhede in terme van die inhoud en formaat van so ‘n reeks is.
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Perteghella, Manuela. "A descriptive framework for collaboration in theatre translation." Thesis, University of East Anglia, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426946.

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Kritsis, Konstantinos. "Exploring theatre translation : the translator of the stage in the case of a Stanislavskian actor." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57272/.

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Amongst the rich variety of metaphors used to describe the process of transferring texts from one language into another, the parallels between translating and the acting process enjoy a prominent place. This thesis examines the arguments of both translation scholars and practitioners who highlight a need for translators to be able to function as actors do, particularly when translating for the stage, or to have at least an understanding of how actors work. By comparing and contrasting the creative process involved in translation, particularly drama translation, with that fostered by a particular method of drama training, namely that developed by Konstantin Stanislavsky, it is the purpose of this thesis not only to explore whether and how an awareness of the ways actors work could be of benefit to the translator, but also to examine the implications of thinking of the Translator as Actor. This thesis will initially offer an overview and contextualisation of the Stanislavskian approach to acting (Chapter I) and of existing approaches to drama translation (Chapter II). It will seek to examine the core aspects of the Stanislavskian approach to preparing for a performance (Chapters III-VI), and will explore areas of similarity and difference between this and the work of translation. In the final chapter (Conclusions), an attempt will be made to evaluate the extent to which the work of drama translators may be informed by the practices of Stanislavskian actors, as well as the validity of thinking of the Translator as Actor.
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Chan, Shelby Kar-yan. "Homeless at home : identity and theatre translation in Hong Kong." Thesis, SOAS, University of London, 2011. http://eprints.soas.ac.uk/13595/.

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Lee, Jirye. "The Distance between Two Worlds: What Happened to The Vagina Monologues When It Crossed The Pacific Ocean?" The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248975351.

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Heinz, Evelyn. "John Rodker (1894-1955) and modernist material culture : theatre, translation, publishing." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/309/.

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This thesis examines the career of the modernist writer John Rodker (1894-1955) in the context of the institutional and commercial networks of modernism during the period 1912-1932. It focuses specifically on three aspects of Rodker’s creative practice which have received little attention to date: his work in the areas of theatre, translation and publishing. Though historically relegated to a position of cultural minority, Rodker was a key agent in the networks of modernist literary production whose multifaceted career, I argue, provides significant insights into the relationship between modernism’s modes of material production and its historical claim to cultural authority. Chapter one examines Rodker’s early engagement with dramatic art and explores how the types of theatre he encountered as a young poet growing up in Whitechapel influenced the dramaturgy of his modernist theatre manifesto, published in The Egoist in 1914. In chapter two Rodker’s theoretical propositions for an artistically and economically reformed modernist stage are tested against his practical involvement in mounting stage performances as a member of the ‘Choric School’. Chapters three and four shift the focus onto Rodker’s translation work, examining his first major translation project The Lay of Maldoror and analysing his position as a translator and translated author in the literary marketplace of the 1920s. In the final two chapters I investigate Rodker’s engagement with the commercial aspects of literary production in his role as a publisher. Chapter five provides a first historical account of Rodker’s second publishing business, the Casanova Society, while chapter six presents an analysis of the ‘John Rodker’ imprint which shows Rodker participating in the commercial push that brought modernism closer to the masses in the late 1920s and early 30s whilst simultaneously failing to effectively market his own work. The conclusion outlines the loss of Rodker’s literary reputation after 1932 and draws together the main strands of my argument about the relationship between modernist material culture and literary success.
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Lazgee, Seyed Habiballah. "Post-revolutinary Iranian theatre : three representative plays in translation with critical commentary." Thesis, University of Leeds, 1994. http://etheses.whiterose.ac.uk/515/.

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This thesis gives a portrait of the theatrical activities in Iran after the Islamic Revolution of 1978, and discusses how theatre works within the Islamic Republic of Iran. Firstly, in order to gain familiarity with the country's political institution, there is a brief political history of the Islamic Republic of Iran. Secondly, to understand the theatre's concerns and difficulties the general situation in post-revolutionary Iranian theatre is discussed. This includes sections on: Organization, Venues, Festivals, Islam and Theatre, Radio and Television, Theatre in the Universities, Theatre Publishing and Criticism, The Effect of War, Audience, Censorship, Statistics. The third and major part of the thesis is the translation of three representative plays which have not previously been translated into English and belong to different periods of the Revolution, written by different playwrights. 1. The Fence within the Fence. By Mohssen Makhmalbaf. 1981. 2. The Steps. By Akbar Radi. 1989 3. The Tale of the Concrete City. By Abdolhay Shammassi. 1990. Critical commentaries accompany each play.
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Kirch, Michael A. "Generative dramaturgy : a strategy for refocusing directorial intent in the translation phase of play development." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8161.

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Includes abstract.<br>Includes bibliographical references (leaves 36-40).<br>This explication focuses on the director working collaboratively in the ensemble towards generating new material inspired by the play text in the staging of the play. The strategy employed to achieve this efect is referred to as a generative dramaturgy. The aim is to foster co-ownership in the actors of teh ensemble by developing their natural and instinctive responses during the translation phase. I specifically look at the South Africa theatre context which neither works in a culturally homogenous environment nor performs to a culturally homogenous audience, and where multicultural theatre is a familiar theatre practice.
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Books on the topic "Theatre translation"

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Tarantini, Angela Tiziana. Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1.

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Conejero, Manuel Angel. Rhetoric, theatre, and translation. Fundación Shakespeare de España (The Shakespeare Foundation of Spain), 1991.

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Sabine, Coelsch-Foisner, and Klein Holger Michael 1938-, eds. Drama translation and theatre practice. P. Lang, 2005.

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Censoring translation: Censorship, theatre and the politics of translation. Continuum, 2012.

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Chan, Shelby Kar-yan. Identity and Theatre Translation in Hong Kong. Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-45541-8.

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Staging and performing translation: Text and theatre practice. Palgrave Macmillan, 2011.

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Time-sharing on stage: Drama translation in theatre and society. Multilingual Matters, 2000.

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Brisset, Annie. A sociocritique of translation: Theatre and alterity in Quebec, 1968-1988. Buffalo, 1996.

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Henry, Kevin. May Fourth and Translation. Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-465-3.

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The May 4th Movement in 1919 – and more broadly the so-called New Culture movement in the 1910s and 1920s, – a landmark in the history of China, was marked by a great wave of translations, without precedent other than the one inspired by the Buddhist faith more than 1000 years before. This volume, which includes five papers presented at the conference 4 May 1919: History in Motion (Université de Mons, Belgium, 2-4 May 2019), seeks to define and measure, in all its dimensions and complexity (from tragic theatre to revolutionary novels to literary journals), the impact of this intense translation effort in the early years of Republican China.
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Theatre translation theory and performance in contemporary Japan: Native voices, foreign bodies. St. Jerome Pub., 2008.

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Book chapters on the topic "Theatre translation"

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Brodie, Geraldine. "Theatre translation." In Routledge Encyclopedia of Translation Studies, 3rd ed. Routledge, 2019. http://dx.doi.org/10.4324/9781315678627-124.

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Tarantini, Angela Tiziana. "Introduction." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_1.

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Tarantini, Angela Tiziana. "At the Translator’s Desk." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_3.

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Tarantini, Angela Tiziana. "Explorations on Rhythm." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_4.

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Tarantini, Angela Tiziana. "Setting the Scene." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_2.

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Tarantini, Angela Tiziana. "Appendix." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_7.

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Tarantini, Angela Tiziana. "Conclusions and Further Research." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_6.

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Tarantini, Angela Tiziana. "Explorations on Gesture." In Theatre Translation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-70202-1_5.

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Espasa Boras, Eva. "Theatre and translation." In Less Translated Languages. John Benjamins Publishing Company, 2005. http://dx.doi.org/10.1075/btl.58.12esp.

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Racz, Gregary J. "Theatre." In The Routledge Handbook of Literary Translation. Routledge, 2018. http://dx.doi.org/10.4324/9781315517131-20.

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Conference papers on the topic "Theatre translation"

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)". У GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Hamilton, Carrie, Yvette Revell-Smith, Chris Allen, Isobel Ryder, and Gill Clarkson. "P62 Involving patients and relatives by translating their experiences into simulation-based education." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.154.

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Hamilton, Carrie, Gill Clarkson, Yvette Revell-Smith, Chris Allen, and Isobel Ryder. "SC34 Involving patients and relatives by translating their experiences into simulation-based education." In Abstracts of the Association for Simulated Practice in Healthcare 9th Annual Conference, 13th to 15th November 2018, Southport Theatre and Convention Centre, UK. The Association for Simulated Practice in Healthcare, 2018. http://dx.doi.org/10.1136/bmjstel-2018-aspihconf.57.

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4

Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Kennedy-Karpat, Colleen. "Adaptation studies in Europe." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.02015k.

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Abstract:
Adaptation is a creative process that crosses and blurs boundaries: from page to stage, from small screen to big screen – and then, sometimes, back again. Beyond questions of form and medium, many adaptations also cross national borders and language barriers, making them important tools for intercultural communication and identity formation. This paper calls for a more intensive, transnational study of adaptation across print, stage, and screens in EU member and affiliate countries. For the highest possible effectiveness, interdisciplinarity is key; as a cultural phenomenon, adaptation benefits from perspectives rooted in a variety of fields and research methods. Its influence over transnational media flows, with patterns in production and reception across European culture industries, offers scholars a better understanding of how narratives are transformed into cultural exports and how these exchanges affect transnational relationships. The following questions are proposed to shape this avenue for research: (1) How do adaptations track narrative and media flows within and across national, linguistic, and regional boundaries? (2) To what extent do adapted narratives reflect transnational relationships, and how might they help construct Europeanness? (3) How do audiences in the EU respond to transnational adaptation, and how are European adaptations circulated and received outside Europe? (4) What impact does adaptation have in the culture industries, and what industrial practices might facilitate adaptation across media platforms and/or national boundaries? The future of adaptation studies and of adaptation as a cultural practice in Europe depends on the development of innovative, comparative, and interdisciplinary approaches to adaptation. The outcomes of future research can hold significant value for European media industries seeking to expand their market reach, as well as for scholars of adaptation, theater, literature, translation, and screen media.
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Reports on the topic "Theatre translation"

1

Grabarz, Theodore L. Operationalizing Capacity Building in Theater Security Cooperation Plans - A New Operational Function: Capacity Building-Lost in Translation? Defense Technical Information Center, 2009. http://dx.doi.org/10.21236/ada597932.

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