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BITRA. BIBLIOGRAFÍA DE INTERPRETACIÓN Y TRADUCCIÓN

 
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Tema:   Teatro. Literatura. Género. Montréal. Canadá.
Autor:   Beauchamp, Hélène & Ric Knowles (eds.)
Año:   2000
Título:   Theatre and Translation
Editorial/Revista:   Canadian Theatre Review (CTR) 102
Páginas:   c. 47 pp. (No paging)
Idioma:   Inglés.
Tipo:   Monografía.
ISBN/ISSN/DOI:   ISSN: 03150836.
Disponibilidad:   Alicante BG
Índice:   1. Theatre in Translation in Montreal: Respecting the Playwright, Challenging the Audience - Bernard Lavoie; 2. Translations and Adaptations in Francophone Canada - Joël Beddows; 3. Translating Metaphors from Québec to Kansas - Jeanne Klein; 4. Auditioning for the Role of a Lifetime - Ellen MacKay; 5. Mistranslation, Bad Faith and Even Worse - Jacob Wren; 6. Taking a Walker on the French Side - Pierre Bernard; 7. 'A word in a foreign language' - Julie Byczynski; 8. The Tender Translations of Tadoussac - Don Druick; 9. A Servant of Two Masters - Hélène Beauchamp; Ric Knowles & Linda Gaboriau.
Resumen:   The topic of theatre and translation is potentially a very broad one, taking all human communication as its subject–including, as Ellen MacKay and Jeanne Klein demonstrate in this issue, various kinds of border crossing and code-switching both within and across linguistic divides, and various performances of identity. To a greater or lesser degree, moreover, all translation, between languages, peoples, cultures, species and codes – and even between individual people in intimate relationships who speak the same languages but remain proverbially “misunderstood” – is mistranslation. This, of course, is at the root of many conflicts in the home, the workplace and the world, ranging from divorces to disasters: brutal wars and intercultural conflicts that are all too familiar as the world sidles anxiously into the third millennium with no sign that the human capacity for brutality is on the decline. [...] The most traditional approaches to the study of drama and theatre have considered the collaborative art of actor, director and designer to be one of “translating” a dramatic text in order to bring it to life on the stage, communicating “the playwright's meanings” more or less “accurately” to audiences in the theatre. But it can equally be true, from the other side, that the production and publication of “dramatic literature,” which most often comes in the wake of a play's first theatrical production, is itself an art of translating the various performed languages of the stage – spoken language, of course, but also the languages of gesture, movement, light, colour, shape and sound – for the benefit of the solitary reader for whom the source text – the performance text – was not originally intended. Even in the theatre, however, each audience member in search of meaning must necessarily decode the various languages of the stage, functioning as a translator of a range of complex and interdiscursive semiotic codes into the realm of her or his own personal, cultural, gendered and lived “vocabulary.” [Source: Editors]
Comentarios:   Canadian Theatre Review (CTR) is published by University of Toronto Press.
 
 
2001-2019 Universidad de Alicante DOI: 10.14198/bitra
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