Article published in:Translation in the Theatre
Edited by Cristina Marinetti
[Target 25:3] 2013
► pp. 365–384
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of a holistic understanding of both language and performance, into which textuality is incorporated and by which it is superseded.
Keywords: translation, performance, practice, hermeneutics, writing, reading
Published online: 11 October 2013
Cited by other publications
Vidal Claramonte, M. Carmen África
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Budick, Sanford, and Wolfgang Iser
Calderón de la Barca, Pedro
Fawcett, Antoinette, Karla L. Guadarrama García, and Rebecca Hyde Parker
Fauconnier, Giles, and Mark Turner
García Lorca, Federico
Gumbrecht, Hans Ulrich
States, Bert O.
de Vega, Lope