7.3 Some Thoughts on the Roles and Potentials of a Theatre Translator
As previously argued, the multiplicity of theatrical communication may provide a theatre translator with even more strategic solutions to translation problems than his or her literary counterparts. However, whether he or she can tap into those resources depends on the power structures of the theatre the translator was serving, as much as the individual’s own capability and status. Due to the norms of power distribution within a theatre group, a translator often need to have at least some level of recognisable theatrical expertise to remain a powerful voice in the page-to-stage transposition. This indicates that when a translator is capable of rising up to that position, he or she usually also possesses the knowledge and the skills facilitative to the work of the enactors.
In reality, however, if a conservative view on translation, which defines the activity as mainly textual and a translator as merely a messenger for the original, happens to be the mainstream norm in the target culture, chances are that the translator, under the influence of such understanding, will try to be less “meddling” and withhold his or
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While a translator’s influence on the enactors through the performative translated playtext could be substantial, it is often not as decisive or effective as the interference from an extra-textual source because, as previously mentioned, it often takes a “higher judgement” to fulfil particular performative potentials of the text. A translator’s mediatory power is granted by his or her bilingualism and biculturalism. Therefore, whether this power can be exploited for a production depends on the translator’s own agency, as much as on the actual power distribution of the production
When Mary Zimmerman adapts a play from an ancient text her directing process and the way she engages with text are woven together, both dependent on the other. She writes these adaptations from nondramatic text, writing each evening while working through the pre-production rehearsals and improvisations during the day with the cast. The rehearsal process influences the text, and the text enriches the rehearsal process, so that one cannot exist without the other. Every rehearsal is structured the same but each production is unique because as Zimmerman states in “The Archaeology of Performance”, she is always “open to the possibilities”. The piece is open to everything happening in the world and to the people involved, so the possibilities are honest and endless.
“A dramatistic explaination appears in terms that performers can comfortably employ in their efforts to stage events” (Pelias and Shaffer 62). This means that the process for understanding text in an aethestic manor needs to be simple and understandable to the performer so it can be clearly related to the audience. So, for the process to be effective it has to be true to reality, otherwise the message of the text will be lost. Pelias and Shaffer describe the questions in Burke’s Pentad as “fundamental of all human action” (62). The simplicity and familiarity of the concepts are comfortable for even the most inexperienced performer.
The works of William Shakespeare have been one of the diligent hotspots for adaptation and appropriation. We see dramatic adaptation of Shakespearean playtexts began as early as Restoration period. Different fields like poetry, novels, advertisements, and movies have connected themselves with Shakespeare as well. The adaptation of Shakespeare makes him fit for new social settings and distinctive political philosophies.
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
Theatre Journal 37.4 (1985): 426-439. Print. Wheeler, Kip. " Literary Terms and Definitions M." Literary Terms and Definitions "M" Carson-Newman University, n.d. Web. 12 May 2014.
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
Technical Theatre class was a great learning experience for me. When I first signed up for the class, I wasn’t really looking forward to it. I had always been quite clumsy, and I’d never been very handy; so I didn’t think I would be of much use to the set building process. However, before the building process began, the class was taught how to properly and safely use power tools. Being educated on how to handle the equipment made me feel a lot more confident. Now, I’m proud of myself because I ended up getting a lot of work done that I didn’t think I was capable of.
Theatre has heavily evolved over the past 100 years, particularly Musical Theatre- a subgenre of theatre in which the storyline is conveyed relying on songs and lyrics rather than dialogue. From its origination in Athens, musical theatre has spread across the world and is a popular form of entertainment today. This essay will discuss the evolution and change of musical theatre from 1980-2016, primarily focusing on Broadway (New York) and the West End (London). It will consider in depth, the time periods of: The 1980s: “Brit Hits”- the influence of European mega musicals, the 1990s: “The downfall of musicals”- what failed and what redeemed, and the 2000s/2010s: “The Resurgence of musicals”- including the rise of pop and movie musicals. Concluding
Martin Esslin, an established drama director, scholar, and critic, approaches his analysis of drama by drawing on his practical experience as a director of plays. Esslin implicitly assumes that drama is the most elite of the artistic genres when he directly declares the purpose of his book, which is to answer the question "why should those concerned with art resort to drama rather than any other form of communication?" Esslin then immediately poses another question that he seems to take as a prerequisite for the first question: "What is the underlying, basic nature of dramatic form and what is it that drama can express better than any other form of communication?"
Applied Theatre work includes Theatre-in-Education, Community and Team-building, Conflict Resolution, and Political theatre, to name just a few of its uses. However, Christopher Balme states that “Grotowski define acting as a communicative process with spectators and not just as a production problem of the actor” (Balme, 2008: 25). Applied Theatre practices may adopt the following “theatrical transactions that involve participants in different participative relationships” such as Theatre for a community, Theatre with a community and Theatre by a community Prentki & Preston (2009: 10). Whereas, applied theatre one of its most major powers is that it gives voice to the voiceless and it is a theatre for, by, and with the people. However, Applied Theatre practitioners are devising educational and entertaining performances bringing personal stories to life and build
Before I started Introduction to Theatre class, I had been only to a couple of plays in my life. Just in this semester I’ve been to about ten plays and have learned so much about the art of theatre. The information I retained from class will help out a lot in the future, but the most important part of this class was the shadowing experience of A Midsummer Night’s Dream. With being able to get an inside look at this play during rehearsal and then going to see the performance was an incredible experience. By going to the rehearsal and then seeing the show, I was able to learn and understand more on how the theatre works. From there, I could understand the long process the actors and directors have to go through before the opening show happens.
This view of translation and translation studies was dominant until the emergence of the so-called “cultural turn” in the 1980s. With the shift
Theatre serves to reflect society. From Shakespeare to Sophocles, a playwright’s work illustrates the different mechanics within a culture, time period, or society. Theatre offers viewers the experience of taking a step back and looking in on themselves. In this way, theatre is a mirror of the world and the way it functions. In the time period from 1968 to 1983, the world was transitioning.
...n, Elaine. & Savona, George. Theatre as a Sign-System: A Semiotics of Text and Performance (London: Routledge 1999)
My experience watching a live theatre performance on stage was a fascinating one, most especially since it was my first time. I attended a staged performance of “The History Boys” in a small theatre called “The Little Theatre of Alexandria” at 8:00 pm on Wednesday June 8, 2016 in Alexandria, Virginia. The overall production of the play was a resounding experience for me particularly the performance of the actors and the design of the scene made the play seem real.