Uumajursiutik unaatuinnamut / Hunter with Harpoon / Chasseur au harpon

duction by actors from the Republic of Georgia. The difference is partly a question of control; Sakowska critiques the venue’s decision to let the performance proceed without translation, thus rendering it, for Anglophone audiences, a foreign spectacle rather than a conscious experience of the play. For Cavanagh, the decision to use physical and non-verbal aural cues to form meaning permitted a startling focus on the body as an immediate site of meaning and poetry. Cavanagh’s plea for more scholarship on such physicality is compelling in theory, but in practice it is challenging, since the kinetic action of dance eludes such treatment, because terms such as “eye movement” (245) are so indebted to physical presence that they retain, in subsequent discussion, more of an eidetic presence than a discursive meaning. In sum, this is a rich and valuable anthology about a fascinating topic. It should be useful not just to scholars of translation, but also to research on the play in general, as each of these iterations teaches us about this strange and manifold tragedy.