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Books on the topic 'Theatre translation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

Henry, Kevin. May Fourth and Translation. Venice: 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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10

Theatre translation theory and performance in contemporary Japan: Native voices, foreign bodies. Manchester, UK: St. Jerome Pub., 2008.

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11

Field Day and the translation of Irish identities: Performing contradictions. New York: Palgrave Macmillan, 2011.

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12

translator, Solomon Rakesh Herald, ed. Globalization, nationalism and the text of Kichaka-Vadha: The first English translation of the Marathi anticolonial classic, with a historical analysis of theatre in British India. London: Anthem Press, 2014.

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13

Quick change: Theatre essays and translations. New York: Martin E. Segal Theatre Center Publications, 2010.

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14

Teixeira, António. A critical study and translation of António José da Silva's Cretan labyrinth: A puppet opera. Lewiston, N.Y: E. Mellen Press, 2004.

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15

Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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16

Casona, Alejandro. World theatre favorites: Comedies. [United States?]: Xlibris, 2003.

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17

Shakespeare, William. The tragedy of Macbeth: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.

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18

Chinese theater in the days of Kublai Khan. Ann Arbor, Mich: Center for Chinese Studies, University of Michigan, 1990.

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19

Thomas Heywood's theatre, 1599-1639: Locations, translations, and conflict. Burlington, VT: Ashgate, 2010.

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20

Cultural dissemination and translational communities: German drama in English translation, 1900-1914. Manchester, UK: St. Jerome Pub., 2007.

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21

Carlo. The comic theatre of Carlo Goldoni. Youngsville, LA: Timelight Books, 2000.

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22

Joël, Pommerat, Hübner Lutz 1964-, Company of Angels, and Theatre Cafe Festival, eds. Theatre Café: Plays one. London: Oberon Books, 2008.

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23

Ustinov, Lev. Fairy tales for theater. Woodstock, Ill: Dramatic Publishing Company, 1989.

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24

Broman, Sven. Chinese shadow theatre libretti. Bangkok: White Orchid Press, 1995.

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25

translator, Anita Vallabh editor, Nandikeśvara, and Nandikeśvara, eds. Abhinaya darpanam: An illustrated translation. Delhi: B.R. Rhythms, 2013.

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26

Takahashi, Rumiko. Rumic theater. San Francisco, CA: Viz Communications, 1998.

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27

Textual translation and live translation: The total experience of nonverbal communication in literature, theater and cinema. Philadelphia: John Benjamins, 2008.

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28

Pancani, Eleonora, ed. Ruggero Jacobbi alla radio. Florence: Firenze University Press, 2008. http://dx.doi.org/10.36253/978-88-8453-664-8.

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Recent years have seen the publication of a great deal of the work of Ruggero Jacobbi, a legendary figure of Italian twentieth-century culture, thanks to a praiseworthy retrieval of unpublished material conserved in the «A. Bonsanti» contemporary archive of the Gabinetto «G.P. Vieusseux». However, despite so many new pages of poetry and translation, what was still lacking was the writer's voice. The voice which, thanks to the painstaking work of Eleonora Pancani, we can now read (if not hear), as with characteristic dexterity it intermingles verses and music, literature and theatre, politics and entertainment. Ruggero Jacobbi alla radio presents the transcription of several radio programmes of the 70s featuring the genial culture of this multi-faceted intellectual. Jacobbi entertains his audience, discorsing on literary history, the figurative arts and opera, quoting poetry, discussing plays, mingling observations on Goldoni, Pirandello, Bontempelli, Savinio, Pessoa and García Lorca in an engaging anecdotal style that involves the cinema, the theatre and literature, while the great figures of tradition and recent history are interwoven with reminiscences of private life.

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29

Shakespeare, William. Macbeth: A facing-page edition : the original text and a translation into modern English. Whiting, Vt: Shakespeare-For-Today Trust, 1990.

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30

Maugham, W. Somerset. Theatre: A novel. New York: Vintage International, 2001.

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31

Luigi, Pirandello. Pirandello's theatre of living masks: New translations of six major plays. Toronto: University of Toronto Press, 2011.

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32

1949-, Thomas Charles Philip, ed. The theatre of Marco Antonio de la Parra: Translations and commentary. New York: P. Lang, 1995.

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33

Shakespeare, William. The tragedy of Hamlet, Prince of Denmark: A facing-pages translation into contemporary English. Los Angeles, CA: Lorenz Educational Publishers, 1996.

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34

Dass, Veena Noble. Modern Indian drama in English translation. Hyderabad: V.N. Dass oup, 1988.

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35

Theatre Translation in Performance. Taylor & Francis Group, 2013.

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36

Grunberg, Arnon. Lechaim Grill Room (Theatre in Translation). International Theatre Bookshop,The Netherlands, 1996.

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37

Frank Geoffrey van der Riet. THEATRE PROFANE (Carleton Plays in Translation). Dovehouse Editions, 1992.

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38

Anderman, Gunilla. Europe on Stage: Translation And Theatre. Oberon Books, 2006.

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39

Upton, Carole-Ann. Moving Target: Theatre Translation and Cultural Relocation. Taylor & Francis Group, 2016.

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40

Carole-Anne, Upton, ed. Moving target: Theatre translation and cultural relocation. Manchester, UK: St. Jerome Pub., 2000.

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41

Translation And Adaptation In Theatre And Film. Taylor & Francis Ltd, 2013.

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42

Chan, Shelby Kar-yan. Identity and Theatre Translation in Hong Kong. Springer, 2016.

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43

Jeffs, Kathleen. Rehearsal and Translation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.003.0003.

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This chapter discusses the degree to which the texts in the RSC’s Spanish Golden Age season accomplished Boswell’s goal for these to be ‘accurate translations’ and ‘not adaptations’. Despite both theoretical and practical problems presented by using a ‘literal’ translation as part of the translation process of the comedia, it is a valuable step in translating plays of the Golden Age for English audiences. The wider purpose of this chapter is to develop a vocabulary and a vision of how the literal-to-performance-text transmission process might be improved. This allows for a more symbiotic relationship between the work of scholars, critics, and translators on the one hand, and that of theatre professionals on the other, in order to create a more robust comedia performance tradition and a model which will be useful for other foreign translations.

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44

Baines, R., C. Marinetti, and M. Perteghella. Staging and Performing Translation: Text and Theatre Practice. Palgrave Macmillan, 2011.

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45

Rewriting Narratives in Egyptian Theatre: Translation, Performance, Politics. Taylor & Francis Group, 2016.

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46

Curran, Beverley. Theatre Translation Theory and Performance in Contemporary Japan. Routledge, 2014. http://dx.doi.org/10.4324/9781315760131.

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47

Aaltonen, Sirkku. Time-Sharing on Stage: Drama Translation in Theatre and Society (Topics in Translation, 17). Multilingual Matters Limited, 1999.

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48

Contributor), Sylvain Bemba (Other, Erika Munk (Preface), and Timberlake Wertenbaker (Translator), eds. Theatre and Politics: An International Anthology (Tibetan Translation Series). Ubu Repertory Theater Publications, 1990.

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49

Lazardzig, Jan, and Hole Rößler, eds. Technologies of Theatre. Klostermann, 2016. http://dx.doi.org/10.5771/9783465142591.

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Baroque theatre spectacles are frequently celebrated for their overwhelming effects and marvelous technologies. However, little is known about how the mechanical knowledge for elaborate stage machineries was actually acquired by architects and engineers, and how it disseminated throughout European theatre cultures with regard to specific religious, social, political as well as economical contexts. So far unnoticed by historians of theatre and performance, the early seventeenth-century codex iconographicus 401 (Bavarian State Library) offers new insight to the transfer of mechanical knowledge and theater technology. This manuscript can now be attributed to Joseph Furttenbach (1591-1667), building master of the Swabian city of Ulm, today best known for his numerous publications on architectural theory. The codex incorporates technical drawings and descriptions of the theatrical machineries invented and designed by Giulio Parigi for the epoch-making festivals at the Medici court in Florence. The invention and construction of theatrical machineries was taught at Parigi’s Florentine academy of art and engineering, which Furttenbach attended. Besides an English translation of Furttenbach’s manuscript (originally written in German language), this volume collects studies at the intersection of theater, architecture, and technology, proposing an innovative approach to the historiography of early modern theater.

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50

Yaari, Nurit. Israeli Theatre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198746676.003.0012.

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This chapter reviews the state of Israeli theatre today, seventy-two years since the production of Racine’s Phaedra at Habima Theatre, and sums up its notable achievements, and the myriad forms, styles, artists, and institutions that together provide fertile ground for Israeli theatre’s encounters with classical drama. An overview of the seventy-two years of reception of Greek tragedy in Israeli theatre (1945–2017) demonstrates clearly that the most important development appears to be that local theatre makers have relinquished previous preconceived ideas about classical Greek drama and performance and of Aristotle’s theatrical doctrine, in favour of personal reading, study, research, and decoding of the classical works. It also presents the young and talented artists that are bringing the results of their studies and experimentations to the translation, writing, directing, and acting of classical drama to the Israeli stage, and using that drama to deliver innovative and challenging productions for today’s audiences.

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