1887
Translation in the Theatre
  • ISSN 0924-1884
  • E-ISSN: 1569-9986
USD
Buy:$35.00 + Taxes

Abstract

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of a holistic understanding of both language and performance, into which textuality is incorporated and by which it is superseded.

Loading

Article metrics loading...

/content/journals/10.1075/target.25.3.04joh
2013-10-11
2019-11-12
Loading full text...

Full text loading...

References

  1. Agamben, Giorgio
    1998Homo Sacer: Sovereign Power and Bare Life. Stanford: Stanford University Press.
    [Google Scholar]
  2. Barber, Karin
    2003 “Text and Performance in Africa.” Bulletin of the School of Oriental and African Studies6 (3): 324–333.
    [Google Scholar]
  3. Barthes, Roland
    1974S/Z. An Essay. Translated by Richard Miller . New York: Hill and Wang.
    [Google Scholar]
  4. Benjamin, Walter
    1994The Correspondence of Walter Benjamin, ed. by Gershom Scholem , and Theodor Adorno . Chicago: University of Chicago Press.
    [Google Scholar]
  5. Berman, Antoine
    1992 “Translation and the Trials of the Foreign.” Translated by Lawrence Venuti . InThe Translation Studies Reader, ed. by Lawrence Venuti , 284–297. London and New York: Routledge.
    [Google Scholar]
  6. 2000The Experience of the Foreign: Culture and Translation in Romantic Germany. Translated by S. Heyvaert . Albany: University of New York Press.
    [Google Scholar]
  7. Budick, Sanford , and Wolfgang Iser
    (eds) 1996The Translatability of Cultures. Configuratons of the Space Between. Stanford: Stanford University Press.
    [Google Scholar]
  8. Calderón de la Barca, Pedro
    1991The Painter of his Dishonour. Translated by A.K.G. Paterson . Warminster: Aris & Phillips.
    [Google Scholar]
  9. 1995The Painter of Dishonour. Translated by David Johnston , and Laurence Boswell . Bath: Absolute Classics.
    [Google Scholar]
  10. Certeau, Michel de
    1988The Writing of History. New York: Columbia University Press.
    [Google Scholar]
  11. Conquergood, Dwight
    2002 “Performance Studies. Interventions and Radical Research.” TDR/The Drama Review46 (2): 145–156. doi: 10.1162/105420402320980550
    https://doi.org/10.1162/105420402320980550 [Google Scholar]
  12. Crimp, Martin
    2009 “Playwright to Playwright: Mart in Crimp meets Molière.” The Guardian, 14December.
    [Google Scholar]
  13. Cronin, Michael
    2003Translation and Globalization. London and New York: Routledge.
    [Google Scholar]
  14. Fawcett, Antoinette , Karla L. Guadarrama García , and Rebecca Hyde Parker
    (eds) 2010Translation: Theory and Practice in Dialogue. London and New York: Continuum.
    [Google Scholar]
  15. Fauconnier, Giles , and Mark Turner
    2002The Way We Think: Conceptual Blending and the Mind's Complexities. New York: Basic Books.
    [Google Scholar]
  16. Frayn, Michael
    2008Stage Directions: Writing on Theatre 1970–2008. London: Faber and Faber.
    [Google Scholar]
  17. García Lorca, Federico
    1999The House of Bernarda Alba. Translated by John Edmunds . Oxford: Oxford World's Classics.
    [Google Scholar]
  18. 1999 Unpublished script ofThe House of Bernarda Alba. Translated by Frank McGuinness . Lyric Theatre, Belfast.
    [Google Scholar]
  19. Gumbrecht, Hans Ulrich
    1997In 1926. Living at the Edge of Time. Cambridge, Mass. and London: Harvard University Press.
    [Google Scholar]
  20. Hare, David
    1991Writing Left-Handed. London: Faber & Faber.
    [Google Scholar]
  21. Jackson, Shannon
    2004Professing Performance. Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University Press. doi: 10.1017/CBO9780511554247
    https://doi.org/10.1017/CBO9780511554247 [Google Scholar]
  22. Johnston, David
    2010 “Metaphor and Metonymy: The Translator-Practitioner's Visibility.” InStaging and Performing Translation: Text and Theatre Practice, ed. by Roger Baines , Cristina Marinetti , and Manuela Perteghella , 11–30. Basingstoke: Palgrave Macmillan.
    [Google Scholar]
  23. Kearney, Richard
    2003Strangers, Gods and Monsters. Interpreting Otherness. London and New York: Routledge.
    [Google Scholar]
  24. Kelly, Stephen
    2012 “An Absence of Ghosts: Cultural and Theatrical Translation in the British Reception of The Mysteries-Yiimimangaliso.” Quaderns: revista de traducció19: 69–75.
    [Google Scholar]
  25. Murdoch, Iris
    1978The Sea, The Sea. London: Chatto & Windus.
    [Google Scholar]
  26. Needham, Alex
    2012 “Theatres Taking Fewer Risks as Funding Dries Up, Warn Playwrights.” The Guardian, 19February.
    [Google Scholar]
  27. Pavis, Patrice
    1992Theatre at the Crossroads of Culture. London and New York: Routledge. doi: 10.4324/9780203359334
    https://doi.org/10.4324/9780203359334 [Google Scholar]
  28. Ricoeur, Paul
    2006On Translation. Translated by Eileen Brennan. Abingdon and New York: Routledge.
    [Google Scholar]
  29. Robinson, Douglas
    2001Who Translates: Translator Subjectivities Beyond Reason. Albany: State University of New York Press.
    [Google Scholar]
  30. States, Bert O
    1975Great Reckonings in Little Rooms: On the Phenomenology of Theater. Berkeley: University of California Press.
    [Google Scholar]
  31. Steiner, George
    1975After Babel. Aspects of Language and Translation. Oxford: Oxford University Press.
    [Google Scholar]
  32. Taves, Ann
    2011 “Brain-Mind.” In “Key Words in Material Religion.” Material Religion; The Journal of Objects, Art and Belief7 (1): 26–33. doi: 10.2752/175183411X12968355481854
    https://doi.org/10.2752/175183411X12968355481854 [Google Scholar]
  33. Tornqvist, Egil
    1991Transposing Drama. Studies in Representation. London: Palgrave Macmillan. doi: 10.1007/978‑1‑349‑21185‑2
    https://doi.org/10.1007/978-1-349-21185-2 [Google Scholar]
  34. de Vega, Lope
    1992Two Plays. The Great Pretenders and The Gentleman from Olmedo. Translated by David Johnston . Bath: Absolute Classics.
    [Google Scholar]
  35. 2004 Unpublished script ofThe Gentleman from Omedo. Translated by David Johnston . Newbury: Watermill Theatre.
    [Google Scholar]
  36. Waisman, Sergio
    2005Borges and Translation. The Irreverence of the Periphery. New Jersey: Associated University Presses.
    [Google Scholar]
  37. Zatlin, Phyllis
    2005Theatre Translation and Film Adaptation: A Practitioner's View. Clevedon: Multilingual Matters.
    [Google Scholar]
  38. Zito, Angela
    2011 “Body.” In “Key Words in Material Religion.” Material Religion; The Journal of Objects, Art and Belief7 (1): 15–25.
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1075/target.25.3.04joh
Loading
  • Article Type: Research Article
Keyword(s): hermeneutics , performance , practice , reading , translation and writing
This is a required field
Please enter a valid email address
Approval was successful
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error