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Stylizacja na język potoczny w tłumaczeniu kanadyjskiej dramaturgii mniejszościowej na przykładzie polskiej wersji sztuki La Défaite Georges’a Bugneta

100%
Czubińska M.
Między Oryginałem a Przekładem
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2015
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vol. 30
9-24
EN
Recourse to „oralité” in written texts, which is specific to the Francophone communities in Canada, poses a challenge to a translator who needs to reinvent the idiolects in the target language. The aim of this paper is to present translation methods proposed and applied by the translator so as to reproduce in Polish the contrasts present in the original discourse. As stylization is the main strategy used by the Polish translator of Georges Bugnet’s La Défaite, different types of stylization, its methods, purposes as well as the risks of the particular choice of stylization, especially in a context of drama translation, are to be determined and described.
2
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Polish translations of Restoration comedy in early Communist period: the cross-section of ideology and academy

88%
Cetera-Włodarczyk A., Pożar P.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue 1
136-145
EN
The article sets out to explore the ideological complexity of the Polish reception of English Restoration Drama in the early Communist period, i.e. in the 1950s and beyond. With the relatively early influx of Shakespeare's repertoire popularized by strolling companies as early as the 16th century, the subsequent decades saw a steady decline of this cultural trend, leaving English Restoration drama entirely outside Polish theatrical experience for three centuries. However, the postwar period saw a surprising development of academic interest in Restoration comedy and even more so in the social processes which these plays were said to expose. Steeped in heavy Marxist jargon, the studies of English Restoration comedies foregrounded the analysis of the newly emergent capitalist relations, the hypocrisy and moral decay of the ruling elites, and the relevance of the new approach to the historical reading of literature. While the enterprise failed on theatrical grounds, the emergent translations can be said to exemplify an interesting case of ideological patronage which brought to light works entirely dismissed by previous ages and allowed them to sustain the initial propagandistic pressure.
3
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The Fifth Slovene Hamlet: Return to Tradition?

75%
Zlatnar Moe M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2017
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vol. 16
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issue 31
127-143
EN
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.
4
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Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"

75%
Keinänen N.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2018
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vol. 18
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issue 33
23-42
EN
This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.
5
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Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

51%
Minier M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2017
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vol. 16
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issue 31
89-108
EN
This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
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