Thesis advisor: Irene Mizrahi / This study is an analysis of the theatre of the Spanish contemporary playwright Raúl Hernández Garrido. It explores in depth his tragedy Los engranajes and it applies (in a more referential manner) the results of this investigation to the rest of his plays: Los malditos, Los restos: Agamenón vuelve a casa and Los restos Fedra, included in the cycle Los esclavos. The author utilizes myth and greek tragedy intentionally in order to make readers reflect upon the concepts of destiny and the fragility of human action as well as the fragmentation, hopelessness and dissatisfaction of contemporary societies. My study demonstrates that the formal innovation of these plays and the use of tragedy as their argumental framework present not only a criticism about these concepts but also an approach towards change and a social ethic of hope founded in creative freedom and the cooperation between the text and all people involved in the creative process. As a theoretical frame of reference for my study I use texts from Sigmund Freud, Jacques Lacan, Friedrich Nietzsche, René Girard and Emmanuel Levinas. Their reflections about the genre of tragedy and/or the concept of the tragic shed light upon my analysis of themes such as human suffering, trauma, the abuse of power, violence and the ethics of responsibility in the works of our author. / Thesis (PhD) — Boston College, 2011. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Romance Languages and Literatures.

La mondialisation n’est plus seulement une réalité économique et commerciale, elle concerne aussi les domaines culturels et artistiques. Dans ce contexte, la traduction joue un rôle majeur car elle facilite les échanges tout en conservant la diversité des langues et des cultures. En permettant la circulation des œuvres dramatiques et lyriques dans leur dimension spectaculaire, le surtitrage répond à cet enjeu du dialogue interculturel. Ainsi, il s’est imposé comme une technique de traduction à part entière, à mi-chemin entre la traduction théâtrale et la traduction audiovisuelle. Sa pratique connaît d’ailleurs un essor constant depuis son apparition, posant ainsi la question de sa professionnalisation et exigeant, par là-même, que l’on s’interroge sur les outils nécessaires au surtitreur. Pour y répondre, une analyse théorique du surtitrage est indispensable car ce dernier présente des spécificités propres qui concernent aussi bien les textes source et cible que l’opération de traduction qu’il engage. La réflexion traductologique doit être accompagnée d’une réflexion théâtrologique car le surtitrage apparaît, de fait, comme un élément qui s’ajoute à une scénographie. Quel que soit son degré d’intégration à la mise en scène, il n’est pas sans incidence sur le spectacle qu’il traduit. Outre cette approche théorique, ce travail s’appuie sur une expérience pratique du surtitrage pour en cerner les différents enjeux. Une telle articulation entre théorie et pratique a conduit à la conception de nouveaux outils, méthodologiques et informatiques (cahier des charges fonctionnel du logiciel Surtitéa), pour faciliter l’activité du surtitreur et accompagner sa professionnalisation. / Globalization is no longer restricted to the economic and commercial spheres as the cultural and artistic worlds are now also affected by it. Within this context, translation plays a major role since it makes exchanges easier while maintaining the diversity of languages and cultures. In making possible the circulation of dramatic and lyrical works in their entire theatrical dimension, the practice of surtitles contributes to the elaboration of this intercultural dialogue. Hence, it came to be recognized as a specific technique of translation, half-way between theatrical translation and audiovisual translation. The practice of surtitles has been developing at a regular pace since its creation, raising thus the question of its professionalization and that of the tools required for such specific types of translation. To answer those questions, a theoretical analysis of surtitling is necessary because of its specificities concerning both the source and target texts and the very process of translation which it implies. A reflection on the theories of translation should be combined with a reflection on the theatrical field since the surtitles are, as a matter of fact, part of the scenography. No matter how much the surtitles are taking into consideration in the elaboration of the staging, their integration always has a consequence on the play they translate. Alongside this theoretical approach, this study is based on a practical experience in surtitling which has helped us to further delineate its features. This combination of theory and practice has resulted in the creation of new tools in the field of methodology and computing (practical guidelines for the users of the software Surtitéa) to ease the task of the translator and helps his professionalization.