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Didaskalia w przekładzie tekstu dramatycznego (na przykładzie Orestei Ajschylosa)

100%
Bibik B.
Między Oryginałem a Przekładem
|
2013
|
vol. 22
57-75
EN
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there are no stage instructions. Without no doubts the fifth century BC tragedies were the theatre productions. And they were influenced by the Athenian theater of the day – its natural location, architecture, theatre equipment and stage design. In every age the drama is influenced by the theatre of its days. The authors of the translations I am interested in this article inserted the stage directions in their translations. And I would like to examine what kind of staging they suggest. And whether they are devoid or not of the influences of or the references to the stages and theatres of authors’ time.
2
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Didaskalia w Orestei Ajschylosa jako projekt inscenizacji tłumacza (na przykładzie Agamemnona)

86%
Bibik B.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
vol. 26
|
issue 1
53-75
PL
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there areno stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course theywere influencedby the Athenian theater of the day, but in every age the drama is influenced by the theatre of itsdays. And translation of a drama requires to be imagined by the translator who is never free from any influencesor references to the stages and theatres of authors’ time. That is why in this paper I would like to examine whatkind of staging the translators suggest in their translations and stage directions they insert in the texts.
3
Publication available in full text mode
Content available

Didaskalia w Orestei Ajschylosa jako projekt inscenizacji tłumacza (na przykładzie Agamemnona)

86%
Bibik B.
Symbolae Philologorum Posnaniensium Graecae et Latinae
|
2016
|
vol. 26
|
issue 1
53-75
EN
We all know that in the ancient tragedies there are no written stage directions. But it does not mean that there areno stage instructions. Without no doubts the fifth century BC tragedies were theatre productions. Of course theywere influencedby the Athenian theater of the day, but in every age the drama is influenced by the theatre of itsdays. And translation of a drama requires to be imagined by the translator who is never free from any influencesor references to the stages and theatres of authors’ time. That is why in this paper I would like to examine whatkind of staging the translators suggest in their translations and stage directions they insert in the texts.
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