{"title":"\"This may appear unmanly Tenderness\". Homosocial bonds and (un)ruly women in George Granville's The Jew of Venice (1701)","authors":"L. Calvi","doi":"10.5817/TY2021-1-5","DOIUrl":"https://doi.org/10.5817/TY2021-1-5","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Enacting the Bible in Medieval and Early Modern Drama","authors":"Eliška Poláčková","doi":"10.5817/TY2021-1-16","DOIUrl":"https://doi.org/10.5817/TY2021-1-16","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reappropriations of Shakespearean history on the post-communist Hungarian stage","authors":"Kinga Földváry","doi":"10.5817/TY2021-S-15","DOIUrl":"https://doi.org/10.5817/TY2021-S-15","url":null,"abstract":"","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356454","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical traditions, practitioners managed to turn the foreign plays into actable English texts. By comparing a corpus of classical Spanish plays and their versions in Restoration England, this paper aims to provide some insight into the translation strategies employed. In this sense, two performance-oriented mechanisms can be distinguished. On the one hand, many elements in the source texts were naturalised to meet the demands of the target culture, as perceived not only in the treatment of rhythm, versification and rhetorical devices but also in action, act-division and characterisation. This domesticating method is also noticeable in how the central motifs of the comedia, i.e. comicality (stage and linguistic), honour and love, were approached. On the other hand, some aspects in the originals (storylines, names and certain stylistic features) were maintained, manifestly showing the Spanishness of the play-text. A contrastive study leads to significant conclusions on the success of these tailor-made, accommodating formulas, and raises questions about the extent to which the translators reach the status of authors by leaving a visible mark on their creations.
{"title":"Translation and performance cultures: Spanish drama and Restoration England","authors":"Jorge Braga Riera","doi":"10.5817/TY2021-1-8","DOIUrl":"https://doi.org/10.5817/TY2021-1-8","url":null,"abstract":"From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical traditions, practitioners managed to turn the foreign plays into actable English texts. By comparing a corpus of classical Spanish plays and their versions in Restoration England, this paper aims to provide some insight into the translation strategies employed. In this sense, two performance-oriented mechanisms can be distinguished. On the one hand, many elements in the source texts were naturalised to meet the demands of the target culture, as perceived not only in the treatment of rhythm, versification and rhetorical devices but also in action, act-division and characterisation. This domesticating method is also noticeable in how the central motifs of the comedia, i.e. comicality (stage and linguistic), honour and love, were approached. On the other hand, some aspects in the originals (storylines, names and certain stylistic features) were maintained, manifestly showing the Spanishness of the play-text. A contrastive study leads to significant conclusions on the success of these tailor-made, accommodating formulas, and raises questions about the extent to which the translators reach the status of authors by leaving a visible mark on their creations.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Willing to challenge the classical tradition, Richlin (2005) adapted the Latin play Persa by Plautus to a contemporary context using American slang and pop culture. Richlin aims at making Roman comedy performable, popular and funny again whether onstage or in the classroom. Is her radical modernisation a form of domestication that is often criticized in translation studies for being unfaithful and unethical? Based upon a comparison between the original Latin text and Richlin’s version, this paper questions the ethics of faithfulness which play a major role in translation terminology, a system determined by the traditional polarity between domestication and foreignization. By highlighting the ludic nature of Plautus’ comedy (especially the ongoing joke with Greek culture and language), this paper argues that using modern transposition is a heavily Plautine strategy suitable for recovering the immediacy of comedy. a performance ( ludicrum ) of Clara She is working on a thesis in Comparative Literature on the subjects of translating classical texts today and using translation as a tool for teaching Classics. Based on an interdisciplinary approach between classical phi-lology and reception studies, she works on translating Roman comedy for a mainstream audience with the example of her own French adaptation of Miles gloriosus by Plautus. She is also interested in the reception of the Antiquity in pop culture. She currently teaches Latin courses at the Classics Department of Aix-Marseille University.
{"title":"Hic et nunc: Amy Richlin's Iran Man and the ethics of translating Plautus","authors":"C. Daniel","doi":"10.5817/TY2020-2-8","DOIUrl":"https://doi.org/10.5817/TY2020-2-8","url":null,"abstract":"Willing to challenge the classical tradition, Richlin (2005) adapted the Latin play Persa by Plautus to a contemporary context using American slang and pop culture. Richlin aims at making Roman comedy performable, popular and funny again whether onstage or in the classroom. Is her radical modernisation a form of domestication that is often criticized in translation studies for being unfaithful and unethical? Based upon a comparison between the original Latin text and Richlin’s version, this paper questions the ethics of faithfulness which play a major role in translation terminology, a system determined by the traditional polarity between domestication and foreignization. By highlighting the ludic nature of Plautus’ comedy (especially the ongoing joke with Greek culture and language), this paper argues that using modern transposition is a heavily Plautine strategy suitable for recovering the immediacy of comedy. a performance ( ludicrum ) of Clara She is working on a thesis in Comparative Literature on the subjects of translating classical texts today and using translation as a tool for teaching Classics. Based on an interdisciplinary approach between classical phi-lology and reception studies, she works on translating Roman comedy for a mainstream audience with the example of her own French adaptation of Miles gloriosus by Plautus. She is also interested in the reception of the Antiquity in pop culture. She currently teaches Latin courses at the Classics Department of Aix-Marseille University.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Knut Ove Arntzen is a professor of Theatre Studies at the Department of Linguistics, Literary and Aesthetics Studies, Faculty of Humanities, University of Bergen, Norway. His research is oriented towards theoretical and practical concepts of visual dramaturgy as well as post-mainstream developments in contemporary European theatre. Knut Ove Arntzen publishes findings in many international periodicals and books as well as presents his work to students and other theatre researchers as a visiting professor at European universities, for example in Lithuania, Belgium and Germany. He has participated in many international conferences (University of Glasgow, Amsterdam, Copenhagen), cooperated with Gordana Vnuk in seminars at the Eurokaz festival and presented several lectures about new theatre developments, post-mainstream and site specific/ ambient theatre in Germany, Austria, and Finland. Recently, Knut Ove Arntzen have written and edited together with John Keefe a new book called Staging and Re-cycling: Retrieving, Reflecting and Re-framing the Archive (2020) that explores the various ways in which dramaturgical and academic materials, once published or presented, may be ‘resurrected’ to a new life. Knut Ove Arntzen was awarded the HEDDA Honorary Prize 2020 for outstanding achievements in Norwegian performing arts. Knut Ove Arntzen had been planning to visit the Department of Theatre Studies at Masaryk University at the beginning of April 2020 and to give a lecture concerning the concept of Visual Dramaturgy. Due to the Covid 19 pandemic, the lecture was postponed until Autumn 2020, and the following interview was consequently carried out as an e-mail conversation in May/July 2020. Amálie Bulandrová, scholar at the Department of Theatre Studies, asked Professor Arntzen to respond to several questions regarding the concept of Visual Dramaturgy. We are looking for the upcoming seminar with Knut Ove Arntzen which will take place online on the 16th of November 2020 and the possibility of discussing in greater detail some of the issues outlined below.
Knut Ove Arntzen，挪威卑尔根大学人文学院语言学、文学和美学研究系戏剧研究教授。他的研究方向是视觉戏剧的理论和实践概念，以及当代欧洲戏剧的后主流发展。Knut Ove Arntzen在许多国际期刊和书籍上发表了他的研究成果，并在立陶宛、比利时和德国等欧洲大学担任客座教授，向学生和其他戏剧研究人员介绍他的作品。他参加了许多国际会议(格拉斯哥大学、阿姆斯特丹、哥本哈根)，与Gordana Vnuk合作参加了Eurokaz艺术节的研讨会，并在德国、奥地利和芬兰发表了几次关于新剧院发展、后主流和特定场地/环境剧院的演讲。最近，Knut Ove Arntzen与John Keefe共同撰写并编辑了一本名为《舞台与再循环:检索、反思和重新构建档案》(2020)的新书，该书探讨了戏剧和学术材料一旦出版或呈现，可能会“复活”到新生命的各种方式。Knut Ove Arntzen因在挪威表演艺术方面的杰出成就被授予2020年HEDDA荣誉奖。Knut Ove Arntzen原本计划在2020年4月初访问马萨里克大学戏剧研究系，并就视觉戏剧的概念做一个讲座。由于2019冠状病毒病大流行，讲座推迟到2020年秋季，因此以下采访在2020年5月/ 7月以电子邮件的形式进行。戏剧研究系学者Amálie bulandrov请Arntzen教授回答几个关于视觉戏剧学概念的问题。我们正在寻找即将于2020年11月16日在线举行的与Knut Ove Arntzen的研讨会，并有可能更详细地讨论以下概述的一些问题。
{"title":"Visual dramaturgy : interview with Knut Ove Arntzen","authors":"Amálie Bulandrová, K. Arntzen","doi":"10.5817/TY2020-2-9","DOIUrl":"https://doi.org/10.5817/TY2020-2-9","url":null,"abstract":"Knut Ove Arntzen is a professor of Theatre Studies at the Department of Linguistics, Literary and Aesthetics Studies, Faculty of Humanities, University of Bergen, Norway. His research is oriented towards theoretical and practical concepts of visual dramaturgy as well as post-mainstream developments in contemporary European theatre. Knut Ove Arntzen publishes findings in many international periodicals and books as well as presents his work to students and other theatre researchers as a visiting professor at European universities, for example in Lithuania, Belgium and Germany. He has participated in many international conferences (University of Glasgow, Amsterdam, Copenhagen), cooperated with Gordana Vnuk in seminars at the Eurokaz festival and presented several lectures about new theatre developments, post-mainstream and site specific/ ambient theatre in Germany, Austria, and Finland. Recently, Knut Ove Arntzen have written and edited together with John Keefe a new book called Staging and Re-cycling: Retrieving, Reflecting and Re-framing the Archive (2020) that explores the various ways in which dramaturgical and academic materials, once published or presented, may be ‘resurrected’ to a new life. Knut Ove Arntzen was awarded the HEDDA Honorary Prize 2020 for outstanding achievements in Norwegian performing arts. Knut Ove Arntzen had been planning to visit the Department of Theatre Studies at Masaryk University at the beginning of April 2020 and to give a lecture concerning the concept of Visual Dramaturgy. Due to the Covid 19 pandemic, the lecture was postponed until Autumn 2020, and the following interview was consequently carried out as an e-mail conversation in May/July 2020. Amálie Bulandrová, scholar at the Department of Theatre Studies, asked Professor Arntzen to respond to several questions regarding the concept of Visual Dramaturgy. We are looking for the upcoming seminar with Knut Ove Arntzen which will take place online on the 16th of November 2020 and the possibility of discussing in greater detail some of the issues outlined below.","PeriodicalId":37223,"journal":{"name":"Theatralia","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71356690","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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