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O specyfice kulturowo-językowej monodramu Jewgienija Griszkowca Jak zjadłem psa i potencjalnych oraz realnych reperkusjach przekładowych z uwzględnieniem tłumaczenia na język polski

100%
NDiaye I. A.
Acta Neophilologica
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2016
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issue 18/2
161-177
EN
This article draws attention to the issue of translating dramatic texts in the context of contemporary translation practices and to its essential role in the construction of the international cultural community. The status of the theater translator and specific linguistic or cultural problems are investigated based on the example of Polish translations of contemporary Russian playwright Yevgeni Grishkovetz’s work. The collaboration between the translator and the theatre is described as well as the factors affecting the final shape of the stage text and the difficulties involved in translating the works of the aforementioned author. An attempt is also made to examine the thin line between translation and adaptation. The analyzed material suggests that, rather than opting for the philological fidelity to the original, the translators desired to ensure the playwright’s works a “timeless” life on stage historically and artistically.
2
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Les stratégies d’adaptation de quelques tragédies de Pierre Corneille dans le courant classiciste en Pologne (XVIIIe et XIXe siècles)

87%
Bajer M.
Studia Romanica Posnaniensia
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2014
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vol. 41
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issue 2
125-139
EN
The study discusses general rules of transforming Pierre Corneille’s texts in the transposition process, so as to fit the linguistic and cultural context of Polish classicism. The analysis concerns translations and adaptations following the first reception period of Corneille’s works in seventeenth-century Poland. These include: “Otto” by Stanisław Konarski, “Herakliusz” by Tomasz Aleksandrowicz from the years 1744-1749 (the second Polish reception period of Corneille’s works), “Cynna” by Franciszek Godlewski, as well as “Cynna” and “Horacjusze” by Ludwik Osiński from the years 1802-1808 (the third reception period). In the 18th century, the strategy of emphasizing didactic elements of texts is dominant. In 19th century, the authors strengthen suspense and the element of surprise; Aleksandrowicz uses prose and Osiński simplifies classical rhetoric. All of the translators share the ambition of enriching the Polish language and creating the tragic canon.
3
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La redéfinition des rôles du traducteur de théâtre face à l’essor du surtitrage

87%
Czubińska M.
Studia Romanica Posnaniensia
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2018
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vol. 45
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issue 4
47-60
EN
During the first two decades of the twenty-first century, we can observe an unprecedented shift in the practice of theatrical translation and a revision of the role of the theater translator. Nowadays, scenic translation methods, including surtitling, put in question the traditional perception of the key concepts of translatology such as translator, equivalence, translation process and methods or even the text. In this paper, based on the theoretical works, the voices of the researchers and theater professionals, the author discusses the status and roles of the theatrical translator as well as the challenges of his activity in the context of the modern theories of theater translation.
4
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Restoration theatre, indirect translation and the canon: Settle's Guarini

75%
Morini M.
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
34-42
EN
During the Restoration period, theatrical writing came to be definitively accepted as literature and as cultural capital. If in 1616 Ben Jonson had been mocked for daring to publish his works as Workes, the second half of the century saw the canonization of Shakespeare and other Elizabethan/Jacobean dramatists. In the domain of translation, however, this newly acquired canonical status did not mean that foreign plays would always receive the same kind of treatment that was usually reserved for a Virgil, a Cicero or a Castiglione. Source playwrights could be accorded respect as proper writers, but their works would still be subjected to a process of radical transformation, particularly when they had to be adapted for the English stage. An example of this is offered by Elkanah Settle's version of Giovanni Battista Guarini's Il pastor fido, printed in 1677: on the one hand, the translator recognized the canonical status of the Italian writer in his dedication and prologue; on the other, he did not hesitate to cut and shorten at will, and he freely announced that he had worked on Richard Fanshawe's 1647 version, rather than the Italian prime source.
5
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Conrad’s Artistic Returns: Perspectives on a Bulgarian Debut in Staging Heart of Darkness

75%
Grigorova M., Tsoneva P.
Yearbook of Conrad Studies
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2019
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vol. 14
35-59
EN
Since 1989 (the fall of Communism) the performing arts in Bulgaria have suffered a long process of transition dominated by a certain dialectic tension between the necessity to meet economic needs and the desire to open new venues for dramatic art. Against this background and contributing its own perceptive “reading” of Heart of Darkness to Conrad’s Bulgarian reception, on the eve of the vigorous celebration of his 160th anniversary in 2017, stage director Valeria Valcheva’s theatrical adaptation represents a remarkable debut rendition of Conrad’s fiction. The aim of this article is to explore how her idiosyncratic, creative, poetically recognizable approach lends a new form to Conrad’s recurrent relocation in modern and contemporary Bulgarian art.
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