Pub Date : 2018-06-30DOI: 10.18778/2083-8530.17.11
Xenia Georgopoulou, Agnieszka Rasmus, S. Tonn
In March 2018 King John was staged in Greece after thirteen years; it was the second time the play was ever performed in the country. The first time was in 2004-2005, by Theatro tou Notou at the Amore Theatre, directed by Nikos Chatzopoulos in his own translation. For the 2018 production the director Apostolis Psarros also used Chatzopoulos’s translation, which is undoubtedly the best existent translation of the play in Greek. Apostolis Psarros made various alterations to the text. However, his cuts did not change the story or character of the play, and a few comical additions did not harm it, since the play itself includes a great deal of comical scenes. In fact, both of the other productions of the play that I can recall, that is, Chatzopoulos’s at the Amore, but also Greg Doran’s at the Swan in Stratford-upon-Avon in 2001, stressed this comical essence of the play. In Psarros’s production it took four actors (Irene Ioannou, Panagiotis Iossifidis, Nicoletta Panagiotou and the director himself) to perform the whole play. This also added to the comical character of the show, since several actors played two or three parts at the same time: the director himself played both kings, or King John and Hubert; Nicoletta Panagiotou played both Eleanor and Constance; Panagiotis Iossifidis at some point played three parts together (Pandolf, the Dauphin and the Bastard). However, the parts were very clear, thanks to the admirable energy of the actors, which enabled them to make amazingly quick role shifts. In the beginning of the show, assuming that the Greek audience’s knowledge of English history was most probably rather meager, Iossifidis gave a brief summary of what happens in the play, and subsequently asked the spectators questions on the plot, to see if they got it. The characters were
{"title":"Theatre Reviews","authors":"Xenia Georgopoulou, Agnieszka Rasmus, S. Tonn","doi":"10.18778/2083-8530.17.11","DOIUrl":"https://doi.org/10.18778/2083-8530.17.11","url":null,"abstract":"In March 2018 King John was staged in Greece after thirteen years; it was the second time the play was ever performed in the country. The first time was in 2004-2005, by Theatro tou Notou at the Amore Theatre, directed by Nikos Chatzopoulos in his own translation. For the 2018 production the director Apostolis Psarros also used Chatzopoulos’s translation, which is undoubtedly the best existent translation of the play in Greek. Apostolis Psarros made various alterations to the text. However, his cuts did not change the story or character of the play, and a few comical additions did not harm it, since the play itself includes a great deal of comical scenes. In fact, both of the other productions of the play that I can recall, that is, Chatzopoulos’s at the Amore, but also Greg Doran’s at the Swan in Stratford-upon-Avon in 2001, stressed this comical essence of the play. In Psarros’s production it took four actors (Irene Ioannou, Panagiotis Iossifidis, Nicoletta Panagiotou and the director himself) to perform the whole play. This also added to the comical character of the show, since several actors played two or three parts at the same time: the director himself played both kings, or King John and Hubert; Nicoletta Panagiotou played both Eleanor and Constance; Panagiotis Iossifidis at some point played three parts together (Pandolf, the Dauphin and the Bastard). However, the parts were very clear, thanks to the admirable energy of the actors, which enabled them to make amazingly quick role shifts. In the beginning of the show, assuming that the Greek audience’s knowledge of English history was most probably rather meager, Iossifidis gave a brief summary of what happens in the play, and subsequently asked the spectators questions on the plot, to see if they got it. The characters were","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"17 1","pages":"129 - 139"},"PeriodicalIF":0.2,"publicationDate":"2018-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44997355","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}
Pub Date : 2018-06-30DOI: 10.18778/2083-8530.17.02
W. B. Worthen, Krystyna Kujawińska Courtney
Krystyna Kujawińska Courtney (later as KKC): I appreciate very much that you have agreed to this interview with me, which will constitute an introduction to the volume of our journal devoted to the symposium “Shakespeare and the Authority of Performance in Polish Theatre.” The symposium, attended by eminent Polish Shakespeare specialists, was organized by the International Shakespeare Research Centre in March 2016, at the University of Lodz. You were invited as a Special Guest of the Rector of the University. The title of the symposium was inspired by your book, Shakespeare and the Authority of Performance, which evoked a great interest all over the world. It has been translated into many languages, including Polish. Could you, please, explain why you have taken Shakespeare as the main object of your research?
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Abstract Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.
近两个世纪以来，《哈姆雷特》一直是斯洛文尼亚文化的一部分，其全文被翻译了五次，主要是由斯洛文尼亚文学界和文学翻译界的知名人士翻译的。本文关注的是斯洛文尼亚著名戏剧翻译家sre ko Fišer为2013年卢布尔雅那国家剧院的一场演出所做的最新翻译。它考察了新译本与其源文本的关系以及与以前的译文的关系。在二十世纪后期，《哈姆雷特》被视为一个有待挑战的文本之后，这个新译本表明了对原文本和作者以及对旧译本的崇敬传统的回归。这在各个层面上都得到了证明，从源文本版本的选择，它似乎与较早的译本比最近的译本更相似，到风格，它与早期译者使用的解决方案相呼应。Fišer比二十年前的两位译者在更大程度上延续了斯洛文尼亚的传统，他采用了与早期译者相同的策略，不去修复那些没有被破坏的东西，只在现有的解释上添加自己的解释，而不是挑战或忽视它们。然而，与此同时，可以发现对源文本的颠覆的痕迹，不是以反叛的形式，而是作为一种温和的漠视。这个最新的译本是第一个频繁修改文本的译本。它也是第一个把意义从属于风格的。这一切都表明，尽管明显回归传统，源文本不再被对待与过去的崇敬。
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Abstract This article shows how the language of Shakespeare’s plays has been rendered into Catalan in three especially significant periods: the late 19th century, the early 20th century, and the late 20th and early 21st centuries. The first section centres on the contrast between natural and unnatural language in Hamlet, and considers how this differentiation is carried out (by linguistic techniques that differ substantially from Shakespeare’s) in a late 19th-century Catalan adaptation by Gaietà Soler. The second part of the article investigates the reasons why in an early 20th-century translation of King Lear the translator, Anfòs Par, resorts to medieval instead of present-time language. The last section of the article illustrates how and explores the motivations why Salvador Oliva’s first (1985) version of The Tempest is retranslated in 2006 using a different language model. The ultimate aim of the paper is to put forward the hypothesis that, in the case of Catalan, Shakespearean translations are both a reflection of the current state of the language and a major linguistic experimentation that shapes and creates (sometimes through a via negativa) the Catalan literary language.
{"title":"Three Translators in Search of an Author: Linguistic Strategies and Language Models in the (Re)translation of Shakespeare’s Plays into Catalan","authors":"Dídac Pujol","doi":"10.1515/mstap-2017-0018","DOIUrl":"https://doi.org/10.1515/mstap-2017-0018","url":null,"abstract":"Abstract This article shows how the language of Shakespeare’s plays has been rendered into Catalan in three especially significant periods: the late 19th century, the early 20th century, and the late 20th and early 21st centuries. The first section centres on the contrast between natural and unnatural language in Hamlet, and considers how this differentiation is carried out (by linguistic techniques that differ substantially from Shakespeare’s) in a late 19th-century Catalan adaptation by Gaietà Soler. The second part of the article investigates the reasons why in an early 20th-century translation of King Lear the translator, Anfòs Par, resorts to medieval instead of present-time language. The last section of the article illustrates how and explores the motivations why Salvador Oliva’s first (1985) version of The Tempest is retranslated in 2006 using a different language model. The ultimate aim of the paper is to put forward the hypothesis that, in the case of Catalan, Shakespearean translations are both a reflection of the current state of the language and a major linguistic experimentation that shapes and creates (sometimes through a via negativa) the Catalan literary language.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"16 1","pages":"41 - 59"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42136621","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}
Abstract This article investigates the earliest Hebrew rendition of a Shakespearean comedy, Judah Elkind’s מוסר סוררה musar sorera ‘The Education of the Rebellious Woman’ (The Taming of the Shrew), which was translated directly from the English source text and published in Berditchev in 1892. Elkind’s translation is the only comedy among a small group of pioneering Shakespeare renditions conducted in late nineteenth-century Eastern Europe by adherents of the Jewish Enlightenment movement. It was rooted in a strongly ideological initiative to establish a modern European-style literature in Hebrew and reflecting Jewish cultural values at a time when the language was still primarily a written medium on the cusp of its large-scale revernacularisation in Palestine. The article examines the ways in which Elkind’s employment of a Judaising translation technique drawing heavily on romantic imagery from prominent biblical intertexts, particularly the Book of Ruth and the Song of Songs, affects the Petruchio and Katherine plotline in the target text. Elkind’s use of carefully selected biblical names for the main characters and his conscious insertion of biblical verses well known in Jewish tradition for their romantic connotations serve to transform Petruchio and Katherine into Peretz and Hoglah, the heroes of a distinctly Jewish love story which offers a unique and intriguing perspective on the translation of Shakespearean comedy.
摘要本文研究了最早的希伯来语翻译的莎士比亚喜剧——犹大·埃尔金德的《the Education of the revolt Woman》(the taraming of the Shrew)，该作品由英文原文直接翻译，并于1892年在Berditchev出版。埃尔金德的翻译是19世纪后期东欧犹太启蒙运动追随者进行的一小批开创性的莎士比亚作品中唯一的一部喜剧。它植根于一种强烈的意识形态倡议，即以希伯来语建立一种现代欧洲风格的文学，并反映犹太文化价值观，当时希伯来语仍主要是一种书面媒介，正处于巴勒斯坦大规模重新白化的尖端。本文考察了埃尔金德运用犹太化翻译技巧，从著名的圣经互文，特别是《路得记》和《雅歌》中汲取大量浪漫意象，从而影响了目标文本中彼特鲁乔和凯瑟琳的情节。埃尔金德为主要人物选用了精心挑选的圣经名字，并有意识地插入了在犹太传统中以其浪漫内涵而闻名的圣经经文，将彼特鲁乔和凯瑟琳变成了佩雷茨和霍格拉，这是一个独特的犹太爱情故事的英雄，为莎士比亚喜剧的翻译提供了一个独特而有趣的视角。
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Abstract This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.
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Abstract Josep Maria de Sagarra translated twenty-eight of Shakespeare’s plays into Catalan in the early forties, at a time when Catalan language and culture were suffering severe repression due to Franco’s regime. The manuscript of Macbeth by Sagarra is from 1942; and the first edition (an impressive hard-bound clandestine edition) is from 1946 or 1947. Before his translation, there were three other Catalan translations of Macbeth, produced by Cebrià Montoliu (1907), Diego Ruiz (1908) and Cèsar August Jordana (1928). The main purpose of this article is to show that Sagarra’s translations marked a turning point regarding the translation of Shakespeare’s works in Catalan culture. This is done by reflecting on both cultural and personal circumstances that led Sagarra to translate Shakespeare and by comparing Sagarra’s translation of Macbeth with the other three from the first half of the twentieth century.
摘要Josep Maria de Sagarra在40年代初将莎士比亚的28部戏剧翻译成加泰罗尼亚语，当时加泰罗尼亚语言和文化正因佛朗哥政权而遭受严重镇压。萨加拉的《麦克白》手稿来自1942年；第一版（一个令人印象深刻的精装秘密版）是1946年或1947年的。在他翻译之前，还有另外三本加泰罗尼亚语版的《麦克白》，分别由塞布里亚·蒙托利乌（1907年）、迭戈·鲁伊斯（1908年）和塞萨尔·奥古斯特·乔达纳（1928年）翻译。本文的主要目的是表明萨加拉的翻译标志着加泰罗尼亚文化中莎士比亚作品翻译的转折点。这是通过反思导致萨加拉翻译莎士比亚的文化和个人环境，并将萨加拉翻译的《麦克白》与20世纪上半叶的其他三部作品进行比较来完成的。
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Abstract This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.
{"title":"The Reception of Galician Performances and (Re)translations of Shakespeare","authors":"María Jesús Lorenzo-Modia","doi":"10.1515/mstap-2017-0020","DOIUrl":"https://doi.org/10.1515/mstap-2017-0020","url":null,"abstract":"Abstract This presentation will deal with the reception of performances, translations and retranslations of Shakespeare’s plays into the Galician language. As is well-known, Galician is a Romance language which historically shared a common origin with Portuguese in the Iberian Peninsula, and which had a different evolution due to political reasons, i.e. the independence of Portugal and the recentralization of Spain after a long partition with the so called Catholic monarchs. As a consequence, Galician ceased to be the language of power and culture as it was during the Middle Ages, and was spoken by peasants and the lower classes in private contexts for centuries. With the disappearance of Francoism in the 1970s, the revival of Galician and its use as a language of culture was felt as a key issue by the Galician intelligentsia and by the new autonomous government formed in 1981. In order to increase the number of speakers of the language and to give it cultural respectability, translations and performances of prominent playwrights, and particularly those by Shakespeare were considered instrumental. This article will analyse the use of Shakespeare’s plays as an instrument of gentrification of the Galician language, so that the association with Shakespeare would confer a marginalized language social respectability and prestige.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"16 1","pages":"75 - 88"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42130298","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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