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- Volume 25, Issue, 2013
Target. International Journal of Translation Studies - Volume 25, Issue 3, 2013
Volume 25, Issue 3, 2013
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Translation and theatre
Author(s): Cristina Marinettipp.: 307–320 (14)More LessThe 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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Translating Greek plays for the theatre today
Author(s): Lorna Hardwickpp.: 321–342 (22)More LessThis essay discusses the relationship between form, language, rewriting and performance in the contemporary staging of ancient Greek drama, with special attention to the range of working practices of the translators, rewriters and theatre practitioners that are involved in the performance creation process. The discussion is framed by questions about the reciprocal influences of research in translation studies and in classics and about how both can best engage with the insights offered by performance praxis.
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Surtitles take the stage in Franco-Canadian theatre
Author(s): Louise Ladouceurpp.: 343–364 (22)More LessFaced 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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Professing translation
Author(s): David Johnstonpp.: 365–384 (20)More LessDrawing 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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Theatre translation as performance
Author(s): Sirkku Aaltonenpp.: 385–406 (22)More LessIn 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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Cultural capital in intercultural theatre
Author(s): Emer O’Toolepp.: 407–426 (20)More LessIn 2006, the Dublin-based theatre company Pan Pan went to China to produce a Mandarin version of J.M. Synge’s canonical Irish play The Playboy of the Western World. Director Gavin Quinn chose to set the adaptation in a hairdresser/massage parlour/brothel, on the outskirts of Beijing. He originally wanted the protagonist to hail from Xin-Jiang, China’s troubled Sinomuslim province. In interview, he said he was advised against this for fear of Chinese state censorship. However, the Chinese translators, Yue Sun and Zhaohui Wang, suggest that the decision not to represent a Muslim protagonist had to do with ethnic sensitivities. In order to analyse this conflict, this article draws on translation sociology after Bourdieu, clarifying the functioning of the habitus, and formulating a global field of cultural production. It argues that analysis of intercultural processes focused on cultural capital can provide materially engaged insights into the power relations informing given intercultural situations.
Volumes & issues
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Volume 36 (2024)
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Volume 35 (2023)
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Volume 34 (2022)
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Volume 33 (2021)
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Volume 32 (2020)
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Volume 31 (2019)
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Volume 30 (2018)
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Volume 29 (2017)
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Volume 28 (2016)
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Volume 27 (2015)
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Volume 26 (2014)
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Volume 25 (2013)
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Volume 24 (2012)
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Volume 23 (2011)
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Volume 22 (2010)
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Volume 21 (2009)
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Volume 20 (2008)
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Volume 19 (2007)
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Volume 18 (2006)
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Volume 17 (2005)
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Volume 16 (2004)
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Volume 15 (2003)
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Volume 14 (2002)
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Volume 13 (2001)
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Volume 12 (2000)
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Volume 11 (1999)
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Volume 10 (1998)
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Volume 9 (1997)
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Volume 8 (1996)
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Volume 7 (1995)
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Volume 6 (1994)
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Volume 5 (1993)
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Volume 4 (1992)
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Volume 3 (1991)
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Volume 2 (1990)
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Volume 1 (1989)
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