By O. Zuber
This booklet specializes in a number of the difficulties within the verbal and nonverbal translation and tranposition of drama from one language and cultural historical past into one other and from the textual content directly to the degree. It covers quite a number formerly unpublished essays particularly written on translation difficulties particular to drama, through playwrights and literary translators in addition to theorists, students and lecturers of drama and translation reviews
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This ebook makes a speciality of many of the difficulties within the verbal and nonverbal translation and tranposition of drama from one language and cultural heritage into one other and from the textual content directly to the level. It covers more than a few formerly unpublished essays particularly written on translation difficulties distinctive to drama, through playwrights and literary translators in addition to theorists, students and academics of drama and translation reviews
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Extra resources for The Languages of Theatre. Problems in the Translation and Transposition of Drama
Narrative and Dramatic Fiction. Translation of narrative fiction and that of dramatic fiction have many problems in common. Their main difference is due to the different commun- ication systems they use. narrator. In prose fiction a story is communicated by a He acts as imaginary witness of something that happened and writes it down for his reader. In dramatic fiction witness, reader and/or spectator are one and the same person. There is also in dramatic fiction mediated communication, namely that of the stage-production insofar as it communicates the text to an audience.
Translation, Adaptation, and Interpretation of Dramatic Texts Acting may use all the means enumerated above; 43 it may stress the one or the other, or limit itself to one or two of them. For example, traditional opera makes hardly any use of moving on the stage, whereas pantomime does not use speech. Furthermore, pantomime can be acted according to a dramatic text and express the meaning of its words in gestures and in movements, possibly for special purposes such as a performance before a deaf audience.
Sophocles and Euripides wrote their Eleatra at about the same time, each being a different interpretation of the Electra-myth. Hofmannsthal or Giraudoux wrote their versions of the myth for our century. Many other examples could be quoted. A different way of rewriting a story would be to adapt it to a different period of history, as O'Neill did when he transferred this myth into nineteenth century America in his Mourning Becomes Electra. The conviction that the story can no longer be interpreted in our time even may be subject of a later play as in Heiner Müller's phantasmogoria Die Hamletmaschine (1977) in the manner of Artaud's "theatre of cruelty".
The Languages of Theatre. Problems in the Translation and Transposition of Drama by O. Zuber