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Journal articles on the topic 'Theatre translation'
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1
Aaltonen, Sirkku. "Theatre translation as performance." Target. International Journal of Translation Studies 25, no. 3 (October 11, 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 (October 11, 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 (December 3, 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 (October 11, 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 (January 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 (September 30, 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 (July 29, 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 (December 31, 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 (October 11, 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 (February 26, 2016): 519–22. http://dx.doi.org/10.1080/0907676x.2015.1126108.
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Boyle, Catherine. "Theatre translation in performance." Studies in Theatre and Performance 35, no. 1 (October 17, 2014): 105–6. http://dx.doi.org/10.1080/14682761.2014.964978.
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Wong, Dorothy. "Translation theatre and theatre translation: discourses of Shakespearean plays in Hong Kong." Asia Pacific Translation and Intercultural Studies 3, no. 2 (May 3, 2016): 161–74. http://dx.doi.org/10.1080/23306343.2016.1182239.
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Xiaoyan, Liang, Wang Kailun, and Dominic Glynn. "Translating and publishing French theatre in China." Francosphères: Volume 10, Issue 2 10, no. 2 (December 1, 2021): 225–43. http://dx.doi.org/10.3828/franc.2021.16.
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This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. In this way, the article seeks both to contribute to current discussions on ‘translatability’ and to consider the reception of canonical French-language writers in the Chinese literary system.
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Farkas, Jenő. "L’histoire des traductions en hongrois de Tartuffe et de Ainsi va l’carnaval." Translationes 11, no. 1 (December 1, 2019): 58–74. http://dx.doi.org/10.2478/tran-2019-0004.
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Abstract Starting from a corpus of successive translations of Moliere’s and Caragiale’s comedies, our aim in this article is to demonstrate that modern translations / adaptations disregard the canons of present day translatology, inclined towards more and more abstract theoretical approaches. Translation practice in the area of theatre goes beyond theory and contains - maybe better than other forms of literary translation - the new acquisitions of contemporary cultural reception. Willingly or not, today’s spectator/consumer asks for the renewed adaptation of past authors. If the conservation of theatre in the new millennium as at stake, one should also understand the necessity of daringly reinventing the well-known world playwrights.
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Edwards, Gwynne. "Lorca on the English Stage: Problems of Production and Translation." New Theatre Quarterly 4, no. 16 (November 1988): 344–55. http://dx.doi.org/10.1017/s0266464x00002943.
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The production during 1987 of no less than three plays by the usually-neglected Spanish dramatist Lorca – Blood Wedding, Yerma, and The House of Bernarda Alba – provided a rare opportunity for a reconsideration of the plays as works for the live theatre, and of the particular problems involved in ‘translating’ them (in every sense of the word) for the English-speaking stage. In the following article. Gwynne Edwards considers the difficulties which confront the translator of Lorca's plays, the production-style which is implicit in Lorca's theatre, and the varying extents to which the three recent productions approximated to it. Gwynne Edwards is Professor of Spanish at the University College of Wales, Aberystwyth. He has published full-length studies of Lorca and of Luis Buñuel, and numerous translations of Spanish plays, including two in the volume of Three Plays published by Methuen in 1987, and the version of Blood Wedding used in the Contact Theatre production here considered.
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Minier, Márta. "Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 89–108. http://dx.doi.org/10.1515/mstap-2017-0021.
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This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
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Bachleitner, Norbert. "Translating under Constraints: Joseph Laudes’ Work for the Vienna Court Stages in the 1760s and 1770s." Comparative Critical Studies 16, no. 2-3 (October 2019): 257–80. http://dx.doi.org/10.3366/ccs.2019.0330.
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Joseph Laudes is an example of an eighteenth-century translator for the two Vienna court stages who had to work under a number of constraints: he had to adapt to a particular theory of theatre, to the demands of certain managers and authorities, as well as to the needs of the audience. The theatre reform that was being implemented in the period of Laudes’ activities as a translator demanded prose instead of verse drama. Moreover, this reform favoured sentimental comedies aimed at affecting the sentiments of the audience and teaching them morally correct behaviour. Besides poetological and ideological constraints, the dramatic texts were directed at a public composed of the aristocracy and a growing number of members of the bourgeoisie. Since he had to work under intense time pressure, which affected the quality of his texts, many of the characteristics of his work correspond with those of prose translations of the era, published by what critics denounced as ‘translation factories’. Laudes’ translation work is exemplified by his rendering of Goldoni's Pamela maritata.
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Lepage, Robert. "Collaboration, Translation, Interpretation." New Theatre Quarterly 9, no. 33 (February 1993): 31–36. http://dx.doi.org/10.1017/s0266464x00007442.
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Robert Lepage, the innovative French-Canadian director whose production of A Midsummer Night's Dream last year joined the repertoire of the National Theatre, developed his working methods out of the resource-based technique of improvisation and creation devised by Anna and Lawrence Halprin at the San Francisco Dance Workshop. His devised shows, widely acclaimed for their arresting visual imagery, include The Dragons' Trilogy, Vinci, Tectonic Plates, and Opium and Needles. Here he discusses in interview his ideas on interculturalism and how these influence his approach to Shakespeare. He was interviewed at the National Theatre in London by Christie Carson, a doctoral student at the University of Glasgow, who is working on a dissertation which compares the approach taken to intercultural projects by the theatre communities of Scotland and Canada. A graduate of Queen's University, Kingston, and the University of Toronto, Christie Carson has also recently been a contributor to a commemorative publication analyzing the work performed as part of the C. P. Taylor retrospective at the 1992 Edinburgh Festival.
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Linder, Daniel. "Censoring Translation: Censorship, Theatre and the Politics of Translation." Translation Studies 7, no. 1 (November 2013): 112–15. http://dx.doi.org/10.1080/14781700.2013.849206.
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Eakin, Joan, and Marion Endicott. "Knowledge Translation through Research-Based Theatre." Healthcare Policy | Politiques de Santé 2, no. 2 (November 15, 2006): 54–59. http://dx.doi.org/10.12927/hcpol.2007.18528.
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O’THOMAS, MARK. "Stages of the Loss, Translation as Contamination: How The Ritual Made It to the Royal National Theatre, London." Theatre Research International 39, no. 2 (June 4, 2014): 120–32. http://dx.doi.org/10.1017/s0307883314000042.
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This article focuses on the practice of translating Brazilian playwright Samir Yazbek's play The Ritual for the Royal National Theatre, as part of its 2012 Connections season. The article charts the course of the translation through its different stages, and through the different drafts of the play as they emerged, and examines the way in which translation itself can become a mediator for dramaturgical support, development, enquiry and critique. Through an interrogation not only of what is retained by the playwright, but also of what ultimately falls by the wayside, what is lost, I examine the peculiarly British notion of ‘workshopping’ new writing, in its linguistic mediated form of translation, and the role of the translator as cultural mediator. Ultimately, the article points towards an international economy of playwriting products where translation becomes a means of mediating cultures through particular and specific frames that remain largely unchallenged.
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Leonavičienė, Aurelija. "Translation of Proper Nouns During Periods of Interwar and Soviet Lithuania: The Case of “The Tartuffe” by Molière." Sustainable Multilingualism 19, no. 1 (November 1, 2021): 227–55. http://dx.doi.org/10.2478/sm-2021-0020.
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Summary Translation is not an isolated field of activity. It is closely related to the certain historical, political, ideological, socio-cultural, and sociolinguistic context of a country, i.e., translation depends on polysystems of a particular period of time. The article examines two different translations of Moliere’s play “The Tartuffe” into Lithuanian. “The Tartuffe” was first translated by Čiurlionienė-Kymantaitė in 1928 and later in 1967 by Churginas. This research is based on the polysystem theory of Even-Zohar and Toury’s theory of norms in translation. For the analysis of the translations of the theatre play, proper nouns were chosen as the object of the research. The analysis was done using comparative, linguistic descriptive and quantitative methods. These methods assisted in comparing decisions of translation used to translate proper nouns of “The Tartuffe”. Moreover, the analysis reveals the tradition of translation of proper nouns and the changes during the Interwar and Soviet Lithuania periods. In order to achieve the aim of the research, the objectives are as follows: to discuss the activity of translation as a part of the polysystems, to select and classify proper nouns of the research material according to translation decisions chosen by each translator, to review its validity and to discuss translation changes of Lithuanian translation tradition from the beginning to the end of XX century. After a comparative study of the translation of personal nouns in the research material, the author identifies and discusses five translation decisions: phonetic adaptation, omission, grammaticalization of the authentic form, replacement into another proper noun and actualization. Both translators mainly used phonetic adaptation, i.e., linguistic application of proper nouns. Looking towards both translations from the perspective of the social norms theory of Toury and the theoretical concept of polysystemical and binary oppositions of Even-Zohar, it can be assumed that translating Moliere’s play “The Tartuffe”, which belongs to the world literature canon, both translators (Čiurlionienė-Kymantaitė and Churginas) accepted the translation challenges of classical literature, understood the value of the work and the importance of maintaining the uniqueness of this theater play which belongs to Classicism. A comparative analysis of translation of the proper nouns allows identifying the dynamic formation of the tradition of proper nouns translation and its changes in Lithuania starting from quite diverse decisions of translation during the Interwar period, which was characterized by a free translation market, unrestricted selection of translations and their adaptation to the sociocultural and linguistic expectations of the readers, to the development of centralized and institutionalized norms in translation during the period of Soviet Lithuania, which was marked by unanimously applied rules of translation of the proper nouns and norms of the standard Lithuanian language. The results of the comparative research of the translation of the proper nouns allow us to confirm that the first translation, published in 1928, introduced Molière’s play to the Lithuanian culture of translation but became obsolete. Thus, almost forty years later, in 1967 there was a need for a new version of translation of “The Tartuffe” that would be adapted to a contemporary period in which cultural systematic knowledge and the usage of cultural elements and language differed from the first translation version.
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Benedetti, Jean. "A History of Stanislavski in Translation." New Theatre Quarterly 6, no. 23 (August 1990): 266–78. http://dx.doi.org/10.1017/s0266464x00004577.
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Stanislavski has become a minor industry, both in theatre training and in publishing, with courses and related books endorsing, elaborating, or questioning his ‘System’. But how much of the System is really accessible to an English-speaking readership, and how full a view of Stanislavski's fully-formed ideas does it represent? Even the order and timing of the appearance of his works in English has, argues Jean Benedetti, determined our reception of his thought, and left us ignorant, sometimes wilfully, of the real development of his thinking: and in the following article, he traces the complicated and often fraught history of the translation of Stanislavski's works into English, revealing how (sometimes from the best of intentions) a slanted and incomplete view of the System still dominates our perceptions. Following a career in the theatre, film, and television. Jean Benedetti was Principal of the Rose Bruford College of Speech and Drama from 1970 to 1987, and since 1979 has been chairman of the Theatre Education Committee of the International Theatre Institute. In 1982 he published Stanislavski: an Introduction, and his biography of Stanislavski, the first in the West in forty years, was published in the autumn of 1988, and in paperback earlier this year. He is currently working on a documentary history of the Moscow Art Theatre.
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Che Suh, Joseph. "Compounding Issues on the Translation of Drama/Theatre Texts." Meta 47, no. 1 (August 26, 2004): 51–57. http://dx.doi.org/10.7202/007991ar.
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Chansky, Dorothy. "American Higher Education and Dramatic Literature in(to) English." Theatre Survey 54, no. 3 (August 29, 2013): 419–38. http://dx.doi.org/10.1017/s0040557413000288.
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In 2011 and 2012, I undertook a two-part survey to answer some large questions about the use of plays in translation in the higher education drama classroom in Anglophone North America and to test my ideas regarding the simultaneous ubiquity and invisibility of translation there. My project here is to report on that survey and to make clear why translation studies is ready to take a prominent role in theatre studies. U.S. colleges and universities constitute one of the largest single markets in the world for drama translated into English. Most U.S. theatre history classes include plays from the world canon, and many specialized classes in theatre departments focus on plays from non-Anglophone cultures. In English departments, where other genres in translation (e.g., the novel) may be approached with caution, drama seems to be offered a “pass” because the notion of being dramaturgically literate depends on some knowledge of a sizable canon of non-Anglophone plays. Yet despite its ubiquity, translation is often so normalized as to be invisible to those who depend on it. As Laurence Senelick notes, “For most students, a work exists wholly in its translated form, spontaneously generated.” Translation, as the survey confirmed, is part of the DNA of theatre studies. As such, I argue, it needs to be brought to the foreground of the field. In saying this, I am not unaware of the rich work undertaken by scholars, editors, and practitioners who are enmeshed in the difficult issues involved with translating plays, which include pressing for greater attention to cultural sensitivity and literacy. My focus here is on the academy and the classroom, where, for better or worse, the vast majority of future dramaturgs and audience members will cut their teeth on a critical mass of plays and where no single language or production entity or publisher can claim pride of place.
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Romanowska, Agnieszka. "Jarosław Iwaszkiewicz as Translator of Shakespeare." Anglica Wratislaviensia 56 (November 22, 2018): 119–32. http://dx.doi.org/10.19195/0301-7966.56.9.
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While theatre has always been the major force generating new translations of Shakespeare’s plays, the prerequisite assuring a successful i.e. theatrically functional rendering is the translator’s awareness of the theatrical potential of poetic drama. The combination of poetic and dramatic skills on the part of the translator, coupled with the interpretative reading that underlies all translation, provides a literary historian with interesting questions. How are the translator’s creative forces channelled to strike a balance between translating and playwrighting? To what extent should we perceive translated literature as an integral part of the writer–translator’s literary output? Is it possible to interpret one in the light of the other and can such interpretation enrich our understanding of the translated texts’ functioning in the target culture? Looking for answers to these questions, I focus on the blend of the poetic and playwrighting temperaments that characterise Jarosław Iwaszkiewicz’s translations of Shakespeare’s Romeo and Juliet and Hamlet.
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Hribar, Darja. "Harold Pinter in Slovene Translation." ELOPE: English Language Overseas Perspectives and Enquiries 1, no. 1-2 (December 31, 2004): 195–208. http://dx.doi.org/10.4312/elope.1.1-2.195-208.
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This article examines the translation of Harold Pinter’s most notable stylistic peculiarities into Slovene, illustrating its main points with examples taken from his play The Homecoming. The findings demonstrate above all a marked degree of non-observance of the special verbal pattern (special cohesion) of the originals, a failure to convey Pinter’s special configuration of meaning (special coherence), and a disregard for internal unifying coincidences. It argues that the Slovene translations of Pinter rely mostly on traditional theories of meaning and of language norms, thus preventing the reproduction of those emotional and psychological actions of Pinter’s characters which are usually not expressed by means of the rhetorical, informative elements of his dialogue, but by its form and sonority, i. e. the length, strength, and level of articulation of verbal expression. This blurs Pinter’s famous logic of emotion, narrows the proverbial openness and conceptual uncertainty of his plays, and limits their potential vitality in translation. Taking into account current drama and theatre translation practices in Slovenia, i.e. the rarity of published drama translation and the dependence on a translated performance text for subsequent theatrical productions, the article argues that in such cases the drama translation should be retrospective, i.e. aiming at a maximum reconstruction of all relevant linguistic, stylistic, and textual properties of the original, leaving expressly subjective interventions in the text to the theatre practitioners.
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O’Thomas, Mark. "Translation, theatre practice, and the jazz metaphor." Journal of Adaptation in Film & Performance 6, no. 1 (May 1, 2013): 55–64. http://dx.doi.org/10.1386/jafp.6.1.55_1.
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Amorim, Lauro Maia. "Translation and adaptation in theatre and film." Translator 20, no. 2 (May 4, 2014): 243–46. http://dx.doi.org/10.1080/13556509.2014.961394.
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Wilkinson, Jane. "Staging ‘Swissness’: Inter- and Intracultural Theatre Translation." Language and Intercultural Communication 5, no. 1 (February 15, 2005): 72–85. http://dx.doi.org/10.1080/14708470508668884.
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Koustas, Jane. "Made in Quebec, Reviewed in Toronto: Critical Response to Translated Quebec Theatre." Meta 40, no. 4 (September 30, 2002): 529–39. http://dx.doi.org/10.7202/003345ar.
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Abstract The author studies the reception of Quebec plays in Toronto between 1970 and 1982. She compares the response of different critiques, focussing on analyses of translations and translators. The author shows that critics are guilty of being "Toronto-centric" by ignoring the importance of translation or seeking more easily understandable translations for Toronto audiences.
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Söderman, Emma, and Anna Lundberg. "”Du förstår, men du förstår ingenting.”." Socialvetenskaplig tidskrift 27, no. 3-4 (April 22, 2021): 291–308. http://dx.doi.org/10.3384/svt.2020.27.3-4.3666.
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In the following article, based on two years of participatory ethnographic fieldwork with the No Border musical, as well as interviews with 16 of the musical’s 30 participants, community theatre is investigated in a context of deportability. We analyse the working process in the theatre group, in which actors with and without resident permits participated, through the concept of politics of translation. We show how inequalities due to the constant threat of deportation for several members were brought to the forefront during the work process of creating the musical. It concerned risks of detection for the undocumented participants as well difficult living conditions related to deportability (for example insecure access to livelihood, healthcare, housing etc.). The article conceptualizes various dimensions of working together in a group where participants live in unequal conditions as a politics of translation. This concept includes the work of language translation, and also captures translations of the different experiences mentioned above, and how different positions of power can be handled and understood, within a group with the ambition to work together, in this case on a theatrical performance. Our analysis shows how theatre in a context of asylum rights activism can challenge and create alternatives to the conditions of deportability, while these simultaneously condition the activism and translation. The article contributes to knowledge about mobilization in the context of vulnerability and inequality. We hope to also contribute to a development of critical social work both within and outside academia.
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Zlatnar Moe, Marija. "The Fifth Slovene Hamlet: Return to Tradition?" Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 127–43. http://dx.doi.org/10.1515/mstap-2017-0023.
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Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.
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Cetera-Włodarczyk, Anna. "Unruly fidelity." Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, no. 1 (April 10, 2018): 147–59. http://dx.doi.org/10.1177/0184767818768061.
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This article offers a discussion of the competing strategies of retranslating Shakespeare for the stage in the late twentieth and twenty-first centuries. It presents a variety of translation policies used to legitimize the new translations of Shakespeare’s canon, with some special emphasis on the proliferation of theatrical rewritings, transpositions, tradaptations and cultural hybrids. The issues at stake include the ever-tantalizing concept of ‘translation for the stage’, the translators’ claims to authority, the multicultural dimension of the theatre, the increasing role of in-house dramaturges and the possible (if ominous) decline of the logocentric approaches to drama translation.
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Imre, Zoltàn. "Staging the Nation: Changing Concepts of a National Theatre in Europe." New Theatre Quarterly 24, no. 1 (January 30, 2008): 75–94. http://dx.doi.org/10.1017/s0266464x08000079.
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In this article, Zoltán Imre investigates the major changes in the concept of a national theatre, from the early debates in Hamburg in 1767 to the 2006 opening of the National Theatre of Scotland. While in the eighteenth and nineteenth centuries the notion of a national theatre was regarded in most of Western Europe as a means of promoting national – or even imperial – integration, in Eastern Europe, the debates about and later the realization of national theatres often took place within the context of and against oppressive imperiums. But in both parts of Europe the realization of a national theatre was utilized to represent a unified nation in a virtual way, its role being to maintain a single and fixed national identity and a homogeneous and dominant national culture. In present-day Scotland, however, the notion of a national theatre has changed again, to service a diverse and multicultural nation. Zoltán Imre received his PhD from Queen Mary College, University of London, and is now a lecturer in the Department of Comparative Literature and Culture at Eötvös Loránd University, Budapest, co-editor of the Hungarian theatre magazine Theatron, and dramaturg at Mozgó Ház Társulás (Moving House Theatre Company) and Természetes Vészek Kollektíva (Collective of Natural Disasters). His publications include Transfer and Translation: Intercultural Dialogues (co-editor, 2002), Theatre and Theatricality (2003), Transillumination: Hungarian Theatre in a European Context (editor, 2004), and On the Border of Theatre and Sociology (co-editor, 2005).
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Delgado, Maria, and David Fancy. "The Theatre of Bernard-Marie Koltès and the ‘Other Spaces’ of Translation." New Theatre Quarterly 17, no. 2 (May 2001): 141–60. http://dx.doi.org/10.1017/s0266464x0001455x.
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The work of the French playwright Bernard-Marie Koltès, although phenomenally successful in continental Europe, has been staged less frequently in Anglo-American theatres; and a major feature on his work in NTQ49 in February 1997, and the publication by Methuen later in the same year of a collection of three of his plays in English translation, brought him only belated recognition in print. In this paper, first presented at a recent gathering in France to mark the tenth anniversary of Koltès's death, Maria Delgado and David Fancy trace the trajectory of a number of his plays through the space of translation, including Roberto Zucco, Dans la solitude des champs de coton (In the Solitude of the Cottonfields), Quai Ouest (Quay West), and Combat de nègre et de chiens (Black Battles with Dogs). Koltès asserted in 1986 that ‘I have always somewhat disliked the theatre because theatre is the opposite of life; but I always come back to it and love it because it is the one place where you can say: this is not life’; and the poetic specificity of his work has posed significant challenges for an Anglo-American theatre culture imbued with actors' identification with character. Relying on testimonials from a variety of directors, translators, and actors, as well as evidence from productions in the UK, Ireland, and the US, the authors, who are both Koltès translators, trace the challenges that have faced English-speaking artists wishing to stage this demanding writer. Maria Delgado is Senior Lecturer in Drama at Queen Mary, University of London, and David Fancy is a freelance director based in Canada who is currently completing a PhD on Koltès's work.
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Molinari, Renata M., Eduardo De Paula, and Maurício Paroni De Castro. "A TRADUÇÃO COMO EXERCÍCIO DE TEATRO." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (March 28, 2019): 35–38. http://dx.doi.org/10.14393/rr-v6n1-2019-03.
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Título: A tradução como exercício de teatro
Resumo: A partir dos processos de criações desenvolvidos junto a Thierry Salmon, da orientação de pesquisa sobre o seu teatro e dos materiais escolhidos para as versões brasileiras, este texto reflete sobre a tradução como uma outra possiblidade do fazer teatral.
Palavras-chave: Teatro, Thierry Salmon, Tradução, Homenagem, Encenação.
Titolo: La traduzione come esercizio di teatro
Riassunto: Considerando i processi di creazione svolti assieme a Thierry Salmon, l’orientamento della ricerca sul suo teatro e dei materiali scelti per le versioni brasiliane, questo testo riflette sulla traduzione come un`altra possibilità di essere all’interno del fare teatrale.
Parole chiave: Teatro, Thierry Salmon, Traduzione, Omaggio, Regia.
Title: The translation as an exercise of the theater
Abstract: Considering the creation processes carried out together with Thierry Salmon, the orientation of the research on his theater and the materials chosen for the brazilian versions, this text reflects on the translation as another possibility to be inside the theater.
Keywords: Theatre, Thierry Salmon, Translation, Tribute, Staging.
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Muneroni, Stefano. "The Cultural Politics of Translation: The Case of Voltaire’s Mérope and Scipione Maffei’s Merope." TranscUlturAl: A Journal of Translation and Cultural Studies 4, no. 1 (April 9, 2013): 15. http://dx.doi.org/10.21992/t9x05j.
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In 1743, Voltaire writes to Scipione Maffei his intention to translate Merope, a drama the Italian playwright had composed thirty years before and that Voltaire deemed worthy of the French stage due to its treatment of the classic heroine and its adherence to classical norms. However, Voltaire later claims that due to flaws in Maffei’s work, he will write his own version of the play. This petty incident stirred a long-lived and animated debate over which dramatist had adhered more closely to the principles of classical theatre and whose country could claim its primacy in European theatre. In my paper, I use this episode to illustrate how translation shapes and is shaped by source and target cultures, and how it determines what is peripheral and what is central to intercultural debates. I argue that both Voltaire and Maffei struggle to assert their position as leading “translators” of classical Greek theatre and eminent interlocutors in the debate over form and content of modern drama. My paper will use Voltaire’s translational faux pas to reflect on the larger issues of how translation situates itself in the middle of cultural hierarchies and how it fashions national identity, cultural pertinence, national subordination, and notions of cultural peripheries and centers, all topics that lie at the heart of contemporary translation studies
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ÖZBIRINCI, PÜRNUR UÇAR. "Intercultural Theatre? A Streetcar Named Desire on the Turkish Stage." Theatre Research International 33, no. 1 (March 2008): 70–83. http://dx.doi.org/10.1017/s0307883307003409.
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The controversial theory of intercultural performance covers a wide range of theatrical practices, which intend to adapt subject matter and situations from one culture to another. This intention mainly involves a transportation and translation of elements and perspectives across cultures. The translator, the audience or reader, and the director fill in the gaps that are formed during this transportation and translation with their own interpretations, in accordance with the culture they inhabit. However, intercultural performance requires conscious attempts to merge two different cultures. Such attempts should not be done solely for the ‘target’ culture's audience but should also regard the perceptions of the ‘source’ culture as much as possible. In light of this, Turkish State Theatre's director Ferdi Merter's production of A Streetcar Named Desire is analysed in order to locate the distinct changes the Turkish interpretation of the play has incorporated.
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Hulan, Renée. "Surviving Translation: Forever Yours, Marie-Lou at Tarragon Theatre." Theatre Research in Canada 15, no. 1 (January 1994): 48–57. http://dx.doi.org/10.3138/tric.15.1.48.
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The essay tests the accuracy of the assertion that Forever Yours, Marie-Lou survives its translation by following the development of the translation from the translators' preliminary notes to the prompt script provided for the 1972 Tarragon production and the final published translation. Comparisons of these layers chart the direct impact of translation on the script with specific reference to how Marie-Lou and Carmen are remoulded. The essay concludes that, as the play was translated, revised, and edited, it underwent a gradual yet appreciable contextual erosion.
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Laera, Margherita. "Staging and Performing Translation: Text and Theatre Practice." Contemporary Theatre Review 22, no. 2 (May 2012): 281–82. http://dx.doi.org/10.1080/10486801.2012.669600.
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Maitland, Sarah. "Staging and Performing Translation: Text and Theatre Practice." Translation Studies 5, no. 3 (September 2012): 379–82. http://dx.doi.org/10.1080/14781700.2012.701950.
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Pollali, Christina-Styliani, and Maria Sidiropoulou. "Identity formation and patriarchal voices in theatre translation." Journal of Pragmatics 177 (May 2021): 97–108. http://dx.doi.org/10.1016/j.pragma.2021.02.018.
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Edwards, Gwynne. "Lorca on the London Stage: Problems of Translation and Adaptation." New Theatre Quarterly 21, no. 4 (October 19, 2005): 382–94. http://dx.doi.org/10.1017/s0266464x05000242.
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In this article, Gwynne Edwards examines recent London productions of Lorca's Blood Wedding and The House of Bernarda Alba, two great Spanish plays which, in comparison with the works of Ibsen and Chekhov, are performed relatively rarely in the United Kingdom. He argues that, because these plays are among Lorca's rural tragedies and are deeply rooted in the soil and traditions of southern Spain, their performance and translation require a sound knowledge both of that background and of Lorca's dramatic style. In this context, the two productions at the Almeida and the National Theatre are seen to be a useful guide to the pitfalls of staging Lorca's plays in a cultural environment which is very different from his own. Gwynne Edwards is Professor of Spanish at the University of Wales, Aberystwyth, and a specialist in Spanish theatre. Ten of his translations of Lorca's plays have been published by Methuen, and most of these have had professional productions. A number of his translations of Golden Age and South American plays have also been published and performed.
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Chystiak, Dmytro. "Betraying the Myth: Comparative Analysis of Russian and Ukrainian Translations of the Plays by Maurice Maeterlinck." Accueillir l’Autre dans sa langue. La traduction comme dispositif de médiation, no. 103 (September 17, 2021): 197–205. http://dx.doi.org/10.31861/pytlit2021.103.197.
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The history of Ukrainian and Russian translations of the playwright by Maurice Maeterlinck is full of well-known names like Lesya Ukrainka, Natalia Kobrynska, Valeriy Briussov and Nikolay Minskiy. Nevertheless some aspects of translations show several problems in misunderstanding of the realities of the French text. Our purpose was to make the comparative analysis of the Russian and Ukrainian translations of Ariane et Barbe-Bleue, a key text of the Maeterlinck’s theatre. The linguo-poetic and linguo-aesthetic analysis were used. The study have shown that the Slavonic translators have omitted the onomastic sign Ariadne revealed in the letters of the author to his German translator Friedrich von Oppeln-Bronikowski where the mythic sign is clearly presented in order to make a transvalorization of the mythological intertext. The original results of our study was used for our new translation of the play Ariane et Barbe-Bleue for the Ukrainian readers published in 2007 then our analysis was developed in the doctorate thesis dedicated to the mythological intertext in the first theatre by Maurice Maeterlinck and in the chapter of our thesis of doctor of science devoted to the study of Greek mythology in the poetry of the Belgian Nobel Prize winner.
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Fed, Tatiana. "Staging Gogol’s play Marriage in Bulgaria." Yearbook of the Department of Foreign Languages and Cultures 2 (June 16, 2020): 146–56. http://dx.doi.org/10.33919/flcy.19.2.9.
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The article traces a range of performances staging Gogol’s play Marriage in Bulgaria with a special emphasis on the respective translations into Bulgarian. The theory features translation and adaptation mechanisms specifically applied to cultural realia. The staging in the Sofia Theatre is highlighted. The methodology applied belongs to the framework of cross-cultural communication studies and employs cultural-historic and reception approaches.
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Abraitienė, Lina, and Laura Antanavičiūtė. "Text Compression in Surtitles: A Case Study of the Opera La Traviata." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 145–74. http://dx.doi.org/10.2478/sm-2020-0008.
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SummarySurtitling as a mode of audiovisual translation is commonly used for intercultural communication both intralingually and interlingually in theatres. The largest Lithuanian theatres often provide surtitles as a means to present translated text of the original language, although in the scientific field surtitling is still a little studied mode. In order to provide qualitative surtitles that convey the essentials of the original language, translators and surtitlers applied a number of compression strategies. The duration and length of the surtitles are limited; therefore, the surtitle specialists must take into account the time and space constraints and provide the shortest text without losing the essence so that the viewer would be able to spend less time reading and mostly focusing on the performance. The article investigates cases of compression of translated text at both the syntactic and lexical levels. Using the descriptive, analytical and comparative methods, Lithuanian surtitles of the opera Traviata for two theatres, namely Kaunas State Musical Theatre and Lithuanian National Opera and Ballet Theatre, are prepared, and a study of the cases of text compression is performed.
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Freeman, Sara. "Gay Sweatshop, Alternative Theatre, and Strategies for New Writing." New Theatre Quarterly 30, no. 2 (May 2014): 136–53. http://dx.doi.org/10.1017/s0266464x14000256.
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Gay Sweatshop spent twenty-two years producing plays as Britain's first openly gay professional theatre company. Their alternative and political work primarily took the form of author-driven new writing, though experiments with performer-driven work intrigued the company from its earliest cabarets to its late phase of queer solo work under Lois Weaver. In this article, Sara Freeman pinpoints Sweatshop's tenth anniversary new play festival in 1985 as the moment when the company committed to new writing as a strategy for gaining greater legitimacy as a theatre group and as a central mode to encourage gay and lesbian voices and representation. She argues that while this had been the default mode of much 1970s political theatre including Sweatshop's, as it played out in the 1980s, a new writing strategy represented a move toward institutional stability as the locus of theatrical radicalism shifted aesthetics. In this analysis, the celebration of company anniversaries and the creation of festival events provided occasions for the company to experience the success or failure of its policies. Freeman is Assistant Professor of Theatre Arts at the University of Puget Sound. She is the co-editor of Public Theatres and Theatre Publics (2012) and International Dramaturgy: Translation and Transformations in the Theatre of Timberlake Wertenbaker (2008). Her recent publications appear in Modern British Playwriting: the 1980s. Readings in Performance and Ecology, and the forthcoming volume The British Theatre Company from Fringe to Mainstream: Volume II 1980–1994.
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Dobroiu, Vlad. "Frei Luís de Sousa d’Almeida Garrett. Pour une approche pragmatique du texte dramatique." Studia Universitatis Babeş-Bolyai Dramatica 65, no. 2 (October 30, 2020): 173–86. http://dx.doi.org/10.24193/subbdrama.2020.2.08.
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"Frei Luís de Sousa by Almeida Garrett: a pragmatic analysis of the theatre dialogue. In this article, we analyse, from a pragmatic point of view, the dialogue of the play Frei Luís de Sousa by Almeida Garrett and its translation made by Maxime Formont at the beginning of the 20th century and published in Livourne. We focus on the strategies used by the participants in the theatre discourse in order to consolidate and sometimes even to renegotiate their interpersonal relationship. Our main interest concerns the use of nouns and pronouns in the 1st Act. For a better understanding of the socio-historical context of this play, we propose a short introduction to the 19th century, in Portugal. We also present and analyse some important para-textual pieces of information that accompany the translation made by Maxime Formont. Keywords: translation, theatre discourse, politeness, pragmatics, Almeida Garrett."
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Pearson, Tony. "Meyerhold and Evreinov: ‘Originals’ at Each Other's Expense." New Theatre Quarterly 8, no. 32 (November 1992): 321–32. http://dx.doi.org/10.1017/s0266464x00007107.
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Our occasional series of original theatre documents continues with this translation, the first in English, of an article written in 1915 by the Russian director Nikolai Evreinov attacking his contemporary and erstwhile colleague Vsevolod Meyerhold for artistic plagiarism – an attack which, of course, reveals as much about the susceptibilities and private jealousies of its perpetrator as it does about its object. Tony Pearson, who currently teaches in the Department of Theatre, Film, and Television Studies in the University of Glasgow, accompanies his translation with a full introduction and commentary, setting the polemics within the context of the Russian and early Soviet theatre, and the subsequent, separate careers of the two personalities involved.