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Theatre Reviews 戏剧评论

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.11

Xenia Georgopoulou, Agnieszka Rasmus, S. Tonn

{"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}

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From the Editor 来自编辑

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.01

Krystyna Kujawińska Courtney

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An Interview with W.B. Worthen w·b·沃特森访谈

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-06-30 DOI: 10.18778/2083-8530.17.02

W. B. Worthen, Krystyna Kujawińska Courtney

引用次数: 0

From the Editor 来自编辑

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2018-01-01 DOI: 10.18778/2083-8530.18.01

Krystyna Kujawińska Courtney

引用次数: 0

The Fifth Slovene Hamlet: Return to Tradition? 第五个斯洛文尼亚哈姆雷特：回归传统？

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/mstap-2017-0023

Marija Zlatnar Moe

{"title":"The Fifth Slovene Hamlet: Return to Tradition?","authors":"Marija Zlatnar Moe","doi":"10.1515/mstap-2017-0023","DOIUrl":"https://doi.org/10.1515/mstap-2017-0023","url":null,"abstract":"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.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"16 1","pages":"127 - 143"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46569792","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}

引用次数: 0

Three Translators in Search of an Author: Linguistic Strategies and Language Models in the (Re)translation of Shakespeare’s Plays into Catalan 三位寻找作者的翻译家：莎士比亚戏剧加泰罗尼亚语再译的语言策略和语言模式

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/mstap-2017-0018

Dídac Pujol

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引用次数: 3

The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew 《驯悍记》第一希伯来文译本中的《路得记》和《雅歌》

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/mstap-2017-0016

L. Kahn

{"title":"The Book of Ruth and Song of Songs in the First Hebrew Translation of The Taming of the Shrew","authors":"L. Kahn","doi":"10.1515/mstap-2017-0016","DOIUrl":"https://doi.org/10.1515/mstap-2017-0016","url":null,"abstract":"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.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"16 1","pages":"13 - 27"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47642675","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}

引用次数: 1

Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13 Canons and Heroes:芬兰接受全集翻译项目，2002-13

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/MSTAP-2017-0022

Nely Keinänen

{"title":"Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13","authors":"Nely Keinänen","doi":"10.1515/MSTAP-2017-0022","DOIUrl":"https://doi.org/10.1515/MSTAP-2017-0022","url":null,"abstract":"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.","PeriodicalId":40600,"journal":{"name":"Multicultural Shakespeare-Translation Appropriation and Performance","volume":"16 1","pages":"109 - 125"},"PeriodicalIF":0.2,"publicationDate":"2017-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44747154","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}

引用次数: 3

A Turning Point in the Translation of Shakespeare into Catalan: The Case of Josep M. De Sagarra’s Macbeth 莎士比亚的加泰罗尼亚语翻译的转折点:约瑟夫·德·萨加拉的《麦克白》

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/mstap-2017-0017

Vanessa Palomo Berjaga

引用次数: 0

The Reception of Galician Performances and (Re)translations of Shakespeare 加利西亚表演的接受与莎士比亚的(再)翻译

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Multicultural Shakespeare-Translation Appropriation and Performance Pub Date : 2017-12-01 DOI: 10.1515/mstap-2017-0020

María Jesús Lorenzo-Modia

{"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}

引用次数: 0