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Na(d)pisy teatralne – translacja pomiędzy sztuką a techniką

100%
Czubińska M.
Między Oryginałem a Przekładem
|
2016
|
vol. 31
153-166
EN
Surtitling, one of the multiple modern forms of stage translation, consists in the projection on a screen above the stage the text necessary for the understanding of the original drama. It is also a kind of hybrid form of translation situated between interpretation and translation and between audiovisual and literary translation. Based on the theatre semiotics, the author of this paper will determine the difference between surtitling and other forms of audiovisual translation and traditional theatre translation. The main purpose is to define phases of the work on the French version of surtitles for „(A)pollonia” – Polish drama directed by Krzysztof Warlikowski. As theatre art is always based on collaboration, we will determine and describe the contributions of the translator, director and surtitler to the final result – a play with surtitles.
2
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La casa delle donne. Sulla storia della traduzione italiana di Dom kobiet di Zofia Nałkowska

88%
Kłos A.
pl.it / rassegna italiana di argomenti polacchi
|
2015
|
issue 6
107-123
EN
In 1930 Sibilla Aleramo translated the play Dom kobiet by Polish writer Zofia Nałkowska into Italian. This three-act drama, probably the first play with only female characters in the history of theatre, was set in Warsaw the same year and was suddenly a huge success in Poland. Aleramo’s translation has remained unpublished and has been preserved (as a manuscript and a typescript draft) in the author’s archive belonging to the Fondazione Istituto Gramsci in Rome. The paper focuses on the history of this text, based mainly on the analysis of Nałkowska’s diary and unpublished letters and documents from Aleramo’s archive.
3
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Translation and performance cultures: Spanish drama and Restoration England

75%
Braga Riera J.
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
101-118
EN
From 1660 onwards, Restoration dramatists drew on seventeenth-century Spanish theatre in search of new plots and characters that might appeal to London audiences. Despite the socio-historical differences between two distinct theatrical traditions, practitioners managed to turn the foreign plays into actable English texts. By comparing a corpus of classical Spanish plays and their versions in Restoration England, this paper aims to provide some insight into the translation strategies employed. In this sense, two performance- -oriented mechanisms can be distinguished. On the one hand, many elements in the source texts were naturalised to meet the demands of the target culture, as perceived not only in the treatment of rhythm, versification and rhetorical devices but also in action, act-division and characterisation. This domesticating method is also noticeable in how the central motifs of the comedia, i.e. comicality (stage and linguistic), honour and love, were approached. On the other hand, some aspects in the originals (storylines, names and certain stylistic features) were maintained, manifestly showing the Spanishness of the play-text. A contrastive study leads to significant conclusions on the success of these tailor-made, accommodating formulas, and raises questions about the extent to which the translators reach the status of authors by leaving a visible mark on their creations.
4
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Alla ricerca di un capolavoro. Il teatro e la traduzione nelle lettere inedite di Sibilla Aleramo a Emilia Szenwicowa

63%
Kłos A.
Italica Wratislaviensia
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2019
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issue 10.2
239–256
EN
Sibilla Aleramo (1876–1960) and Emilia Szenwicowa (1889–1972), Polish journalist and translator, met in 1927: the Italian writer hoped that Szenwicowa would translate her novel Amo dunque sono into Polish. A year later, Aleramo spent a few weeks on vacation in Positano, in the villa of the Szenwic family, where she often returned until the outbreak of World War II. In 1931, thanks to Szenwicowa’s mediation, Aleramo undertook the translation of Dom kobiet, a theatrical piece by Zofia Nałkowska, into French and literal Italian, using mediatory versions. A collection of Aleramo’s letters has recently been found in the family archive of the Polish journalist’s heirs. The letters, published for the first time in the present paper in fragments, testify to the profound friendship that united the two intellectuals, and document, amongst other things, their various collaborative projects concerning the translation of theatre plays from Polish to Italian. The aim of the paper is to analyse the moments of correspondence between Aleramo and Szenwicowa that refer to the theatre.
IT
Sibilla Aleramo (1876–1960) ed Emilia Szenwicowa (1889–1972), giornalista e traduttrice polacca, si conobbero nel 1927: la scrittrice italiana sperava che Szenwicowa avrebbe tradotto in italiano il suo romanzo Amo dunque sono. Un anno dopo, Aleramo trascorse qualche settimana di vacanza a Positano, nella villa della famiglia Szenwic, dove ritornò spesso fino allo scoppio della seconda guerra mondiale. Nel 1931, grazie alla mediazione di Emilia, Aleramo intraprese la traduzione di Dom kobiet, una pièce teatrale di Zofia Nałkowska, basandosi su traduzioni mediatorie in italiano e francese. Nell’archivio familiare degli eredi della giornalista polacca è stata recentemente ritrovata una collezione di missive aleramiane. Le lettere, per la prima volta pubblicate in frammenti nel presente saggio, testimoniano la profonda amicizia che univa le due intellettuali e documentano, tra l’altro, diversi progetti di collaborazione inerenti la traduzione di testi teatrali dal polacco in italiano. I momenti della corrispondenza tra Aleramo e Szenwicowa che si riferiscono al teatro vengono sottoposti nel presente intervento ad un’analisi approfondita
5

Some Leaks, Some Draughts: On Three Unstaged Polish Translations of Harold Pinter’s Plays

63%
Borowiec Ł.
Roczniki Humanistyczne
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2017
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vol. 65
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issue 11: Anglica
91-108
EN
The article discusses translations of three plays by Harold Pinter (The Room, Party Time, Moonlight) which so far have not been staged in Poland. The plays are significant since they represent three major stages in Pinter’s playwriting career while simultaneously enriching and extending Pinter’s predominant motifs and concerns. So as to reflect the inherent duality of the dramatic text (which can be treated both as a literary work and a script for potential performance), the article investigates the translations of the plays by placing emphasis on their literary as well as theatrical features. This is done with a view to presenting challenges facing translators of Pinter’s plays and to reflect on selected translator’s choices and strategies which might have a bearing on the interpretation by potential readers as well as theatre practitioners. It is especially relevant in the light of Pinter’s determination in underlining the importance of the dramatic text in the actual performance.
PL
Artykuł omawia przekłady trzech sztuk Harolda Pintera: Pokój, Przyjęcie oraz Światło księżyca, które jak dotąd nie doczekały się scenicznej realizacji w Polsce. Są to jednocześnie sztuki, które z jednej strony reprezentują główne etapy twórczości Pintera, z drugiej zaś stanowią ich ważne wzbogacenie. W świetle dwoistej natury tekstu dramatycznego (będącego jednocześnie utworem literackim oraz scenariuszem potencjalnego przedstawienia) analiza tłumaczeń skupia się zarówno na ich aspektach literackich, jak i teatralnych. Celem artykułu jest ukazanie wyzwań stojących przed tłumaczami Pintera, a także refleksja nad podjętymi przez nich wyborami oraz ich potencjalnymi konsekwencjami dla lektury i realizacji scenicznej. Jest to szczególnie ważne ze względu na fakt, że sam Pinter z determinacją podkreślał wagę tekstu jako jednego z najważniejszych elementów składowych przedstawienia.
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