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"Drama Translating."
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Theatrical Translation and Film Adaptation
Translation and film adaptation of theatre have received
little study. In filling that gap, this book draws on the
experiences of theatrical translators and on movie versions of
plays from various countries. It also offers insights into such
concerns as the translation of bilingual plays and the choice
between subtitling and dubbing of film.
eBook
Censoring translation : censorship, theatre and the politics of translation
\"Looks at the explicit and implicit forms of censorship to which literature in translation is vulnerable\"-- Provided by publisher.
Book
Theatre Translation in Performance
This volume focuses on the highly debated topic of theatrical translation, one brought on by a renewed interest in the idea of performance and translation as a cooperative effort on the part of the translator, the director, and the actors. Exploring the role and function of the translator as co-subject of the performance, it addresses current issues concerning the role of the translator for the stage, as opposed to the one for the editorial market, within a multifarious cultural context. The current debate has shown a growing tendency to downplay and challenge the notion of translational accuracy in favor of a recreational and post-dramatic attitude, underlying the role of the director and playwright instead. This book discusses the delicate balance between translating and directing from an intercultural, semiotic, aesthetic, and interlingual perspective, taking a critical stance on approaches that belittle translation for the theatre or equate it to an editorial practice focused on literality. Chapters emphasize the idea of dramatic translation as a particular and extremely challenging type of performance, while consistently exploring its various textual, intertextual, intertranslational, contextual, cultural, and intercultural facets. The notion of performance is applied to textual interpretation as performance, interlingual versus intersemiotic performance, and (inter)cultural performance in the adaptation of translated texts for the stage, providing a wide-ranging discussion from an international group of contributors, directors, and translators.
eBook
Ionesco and Me
The fear of death \"pierced the great Romanian playwright Eugene Ionesco as a child and never left him...Ionesco had endured the horrors of the Second World War, and...[was] desperate to find strategies for bearing witness. But how?...[Ionesco] went for exaggeration and overabundance--furniture that proliferated out of control, corpses that wouldn't stop growing and herds of rhinoceri plunging across the stage...It's this bursting that makes his plays so extraordinary.\" (American Theatre) Translator Tina Howe profiles Ionesco, discusses his use of language, and details the challenges of translating his plays.
Magazine Article
Performing the politics of translation in modern Japan : staging the resistance
\"Performing the Politics of Translation in Modern Japan, sheds new light on the adoption of concepts which motivated political theatres of resistance for nearly a century and even now underpin the collective understanding of the Japanese nation. Grounded in the aftermath of the Meiji Restoration in 1868 and analysing its legacy on stage, this book tells the story of the crucial role that performance and specifically embodied memory played in the changing understanding of the imported Western concepts of \"liberty\" (jiyهu) and \"revolution\" (kakumei). Tracing the role of the post-Restoration movement itself as an important touchstone for later performances, it examines two key moments of political crisis. The first of these is the Proletarian Theatre Movement of the 1920s and 30s, in which the post Restoration years were important for theorizing the Japanese communist revolution. The second is in the postwar years when Rights Movement theatre and thought again featured as a vehicle for understanding the present through the past. As such, this book presents the translation of \"liberty\" and \"revolution\", not through a one-to-one correspondence model, but rather as a many-to-many relationship. In doing so, it presents a century of evolution in the dramaturgy of resistance in Japan. This book will be useful to students and scholars of Japanese history, society and culture, as well as literature and Translation Studies alike\"-- Provided by publisher.
Book
Extreme O'Neill
\"Vengeful. Alcoholic. Recluse. Genius. How about experimental? After all, [Eugene O'Neill] not only stretched the dramatic envelope with prolix language, extravagant plots and a psychological formalism that owed as much to the Greeks as it did Strindberg and Ibsen, but also used masks, mime, sound...and the shockingly revealing asides in Strange Interlude to upend theatrical norms.\" (American Theatre) This article surveys the work of American playwright Eugene O'Neill \"at a Chicago fest\" where \"6 directors reanimate his dramas, for a faster, harsher century.\" Details of the stage companies involved are included. \"Chicago's Goodman Theatre has organized 'A Global Exploration: Eugene O'Neill in the 21st Century.'\"
Magazine Article
Chekhov: Shorter, Faster, Funnier and Uncut
Russian playwright Anton \"Chekhov was revered in his lifetime for four complex and cherished plays before [dying at age 44 of] tuberculosis...His plays, however, remain open to interpretation. He himself notoriously insisted that The Seagull and The Cherry Orchard were 'gay, lighthearted, comedies,' but this was ignored by [Konstantin] Stanislavsky, who directed the plays, according to Chekhov, as 'weepy.'...And in the 100 years that followed...Stanislavsky seems to have established a tradition for how Chekhov's plays would be directed--and often misdirected--to this day.\" (American Theatre) A \"literal translation of [Chekhov's] The Cherry Orchard\" proves to be \"shorter, faster, [and] funnier\" than many previous interpretations. Chekhov's true intent is addressed.
Magazine Article