‘Walking the boundaries’: Lynne Parker’s unpublished version of Federico García Lorca’s La Casa de Bernarda Alba

IF 0.3 3区 艺术学 0 THEATER
María del Mar González Chacón
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引用次数: 0

Abstract

ABSTRACT Crossing the frontiers looking for inspiration has been part of the Irish literary tradition, and translation and adaptation of continental writers such as Federico García Lorca have played an important role. The dissenting Lorquian voices revive in Ireland to find new meanings for the silences of the original play. This article explores an unpublished version of La Casa de Bernarda Alba, by Lynne Parker (The House of Bernarda Alba, 1993). The study will first review the relationship between Irish theatre and continental drama by the end of the twentieth century, to address its internationalization as well as the relationship between the North and the South; after this, the contexts of (re)creation of the play will be analyzed, with a special interest in the situation of women in society in the Spain of Lorca and the Belfast of Parker. The study will include a revision of the process of Hibernization Parker carried out from the English version she used as a source. Furthermore, an interview with the playwright will be used to illustrate some points. Conclusions aim at recognizing the play as an act of linguistic acculturation and appropriation and as part of the canon of Irish rewritings of Lorca.
“走在边界上”:Lynne Parker未出版的Federico García Lorca的La Casa de Bernarda Alba
跨越国界寻找灵感一直是爱尔兰文学传统的一部分,而费德里科García洛尔卡等大陆作家的翻译和改编在其中发挥了重要作用。洛尔金的反对声音在爱尔兰复活,为原剧的沉默寻找新的意义。本文探讨了Lynne Parker未出版的《La Casa de Bernarda Alba》(The House of Bernarda Alba, 1993)。该研究将首先审查爱尔兰戏剧和大陆戏剧之间的关系,到二十世纪末,以解决其国际化以及南北之间的关系;在此之后,将分析(重新)创作的背景,特别关注洛尔卡的西班牙和帕克的贝尔法斯特的社会妇女状况。这项研究将包括对冬眠帕克的过程进行修订,根据她使用的英文版本作为来源。此外,对剧作家的采访将用来说明一些观点。结论旨在承认戏剧作为语言文化适应和挪用的行为,并作为爱尔兰重写洛尔卡的佳能的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.60
自引率
33.30%
发文量
11
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