Adapting Translation for the Stage

NOTE EDITORE

Translating for performance is a difficult – and hotly contested – activity. Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across these boundaries, exploring common themes and issues encountered when writing, staging, and researching translated works. It is organised into four parts, each reflecting on a theatrical genre where translation is regularly practised:The Role of Translation in Rewriting Naturalist TheatreAdapting Classical Drama at the Turn of the Twenty-First CenturyTranslocating Political Activism in Contemporary TheatreModernist Narratives of Translation in PerformanceA range of case studies from the National Theatre’s Medea to The Gate Theatre’s Dances of Death and Emily Mann’s The House of Bernarda Alba shed new light on the creative processes inherent in translating for the theatre, destabilising the literal/performable binary to suggest that adaptation and translation can – and do – coexist on stage. Chronicling the many possible intersections between translation theory and practice, Adapting Translation for the Stage offers a unique exploration of the processes of translating, adapting, and relocating work for the theatre.

SOMMARIO

Foreword – Christopher HaydonIntroduction – Geraldine Brodie and Emma ColeSection 1: The Role of Translation in Rewriting Naturalist TheatreCritical Introduction: The Revolution of the Human Spirit - May-Brit AkerholtTotal Translation: Approaching an Adaptation of Strindberg’s The Dance of Death Parts One and Two – Tom LittlerDoctors Talking to Doctors in Arthur Schnitzler’s Professor Bernhardi (1912) - Judith BenistonAn Antidote to Ibsen? British Responses to Chekhov and the Legacy of Naturalism - Philip Ross BullockThe Translation Trance: Naturalism and Strindberg’s Dance of Death [transcript of a talk given at the Theatre Translation Forum] - Howard BrentonSection 2: Adapting Classical Drama at the Turn of the Twenty-First CenturyCritical Introduction: Adapting the Classics: Pall-bearers, Mourners, and Resurrectionists - Jane Montgomery GriffithsHecuba, Queen of What? – Caroline BirdParalinguistic Translation in Contemporary Theatre: Sarah Kane’s Phaedra’s Love – Emma ColeForces at Work: Euripides’ Medea at the National Theatre 2014 – Lucy JacksonTranslation and/in Performance: My Experiments – Mary-Kay GamelSection 3: Translocating Political Activism in Contemporary TheatreCritical Introduction: The Critical and Cultural Faultlines of Translation/Adaptation in Contemporary Theatre - Jean Graham-JonesHandling ‘Paulmann’s Dick’: Translating Audience and Character Recognition in Contemporary Theatre – William GregoryWilhelm Genazino’s Lieber Gott mach mich blind and the proportions of translation – Thomas WilksDomestication as a political act: The case of Gavin Richards’ translation of Dario Fo’s Accidental Death of an Anarchist – Marta NiccolaiTheatrical Translation/Theatrical Production: Ramón Griffero’s Pre-Texts for Performance - Adam VersényiSection 4: Modernist Narratives of Translation in PerformanceCritical Introduction: The Roaming Art - Tanya RonderPinning down Piñera - Gráinne Byrne and Kate EatonTranslating sicilianità in Pirandell’s dialect play Liolà - Enza De FrancisciNarratives of Translation in Performance: Collaborative Acts - David JohnstonHow to Solve a Problem like Lorca: Anthony Weigh’s Yerma - Gareth WoodMultiple Roles and Shifting Translations [transcript of Emily Mann in conversation with the editors] – Emily MannAfterwordAdapting – and Accessing – Translation for the Stage – Eva EspasaIndex

AUTORE

Geraldine Brodie (University College London) lectures, researches and writes about theatre translation practices in contemporary London. Recent publications include a special issue of the Journal of Adaptation in Film & Performance on Martin Crimp (2016) and her forthcoming book The Translator on Stage.Emma Cole (Bristol University) lectures, researches, and writes about the reception of Greek and Roman literature in contemporary theatre. She has published on classical performance reception and the work of Katie Mitchell (2015) and Martin Crimp (2016), and has a forthcoming monograph titled Postdramatic Tragedies.

ALTRE INFORMAZIONI

• Condizione: Nuovo
• ISBN: 9780367736095
• Dimensioni: 9.25 x 6.25 in Ø 1.30 lb
• Formato: Brossura
• Pagine Arabe: 298
• Pagine Romane: xx