In my thesis I have translated five dramas by Karoline von Günderrode: Mora, written at the latest 1804 but likely 1801/02; Hildgund, created before 1804; Nikator written the middle of 1804; Udohla originated around the turn of 1804/05; Magie und Schicksal written the beginning of 1805; all were published under the pseudonym Tian in 1805, except Mora which was printed in 1804. (Refer to Walter Morgenthaler's Karoline von Günderrode, Sämtliche Werke und Ausgewählte Studien, 90, 116, 142, 147, 156.) Günderrode is usually classified as a writer aligned with German Romanticism, however, her works, like her life, defy easy categorization. Her struggle with contemporary gender roles is especially evident in her dramatic texts, where her idiosyncratic choice of form, structure, themes, and linguistic idioms – which I will present here as a position between German Romanticism and Classicism – locate her in a poetic realm of her own creation. This is a realm in which she can transcend the personal tragedies that permeate her existence and in which her vision of love as a union of equals struggles to find a fulfilling conclusion. This utopian conclusion is denied her both in her dramatic texts and life which ends in tragedy and death.

Mori Ōgai’s (1862-1922) 1909 translation and the subsequent theater production of Henrik Ibsen’s 1896 play John Gabriel Borkman was in many ways instrumental in the formation of Japanese Meiji-era shingeki theater. Through his career as a translator, Ōgai’s translation approach shifted from one of decreasingly relying on domestication techniques to staying more faithful to the source text through use of foreignization techniques and arguably towards what has been identified by Eugene Nida and Jin Di as dynamical equivalence or equivalent effect, respectively, in drama translation. In this project, Ōgai’s translation of John Gabriel Borkman is examined using a set of categories peculiar to drama translation, as proposed by Chinese scholars Xu and Cui (2011), again based on the theories of Nida and Di. The categories are intelligibility, brevity, characterization and actability. The results from the analysis are used to do a qualitative analysis of Ōgai’s approach to drama translation. Results from the study indicate that Ōgai put large emphasis on the intelligibility of the play, and perhaps over the aspects of brevity, characterization and actability. However, wherever the brevity aspect seems not to be in violation of any of the other aspects, Ōgai seems to have tried to adhere as close as possible to the source texts in terms of speaking length.

L'objectif de cette recherche est de fournir une analyse de la pièce de théâtre perse ''Marionettes'' de Bahrām Beyzā'ī (1963) ainsi que de sa traduction anglaise (1989) afin de comparer et de mettre en contraste les traits propres à la culture «Culture-specific items» (CSI) et des stratégies de traduction. Les formes problématiques pertinentes des différences culturelles seront étudiées et les procédés suggérés par Newmark (1988) seront examinés afin de déterminer dans quelle mesure ils sont pertinents dans la traduction des différences culturelles du perse à l'anglais. La pièce a été traduite par une équipe de traducteurs: Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee et Kamiar K. Oskouee. (Parvin Loloi et Glyn Pursglove 2002:66). Les oeuvres théâtrales de Beyzā'ī sont basées sur les traditions ainsi que sur le folklore iranien. L'auteur aborde la réalité sous une perspective philosophique. « (Un point de vue) enveloppé dans une cape de comparaisons complexes à tel point que nombre des personnages de son oeuvre errent entre des symboles de la mythologie et de l’histoire, ou sociaux» (M.R. Ghanoonparvar, John Green 1989, p.xxii notre traduction). La classification des éléments culturels de Newmark (1988) va comme suit: «Écologie, culture matérielle, culture sociale, organisations, coutumes / moeurs, gestes et habitudes» (Newmark 1988:95). La recherche mettra l’accent sur les procédés suggérés pour traduire les CSI ainsi que sur les stratégies de traduction selon Newmark. Ces procédés comprennent : «traduction littérale, transfert, équivalent culturel, neutralisation, équivalent fonctionnel, équivalent descriptif, synonymie, par le biais de la traduction, transposition, modulation, traduction reconnue, étiquette de traduction, compensation, analyse componentielle, réduction et expansion, paraphraser, distique, notes, additions, gloses» (Newmark 1988:81-93). L'objectif ici est de déterminer si les procédés suggérés sont applicables à la traduction des CSIs du perse à l'anglais, et quels sont les procédés les plus fréquemment utilisés par les traducteurs. / The focus of this research project is to provide an analysis of the Persian literary play by Bahrām Beyzā'ī “Aroosak-ha” in 1963 and its English translation (Marionettes) in 1989 to compare and contrast the culture specific items (CSI) and translation strategies in the 20th century. The relevant problematic forms of the cultural differences will be investigated and the procedures suggested by Newmark (1988) will be examined to see how they fit in the translation of cultural differences from Persian to English. The play was translated by a team of translators, Sujata G.Bhatt, Jacquelin Hoats, Imran A. Nyazee and Kamiar K. Oskouee. (Parvin Loloi and Glyn Pursglove, 2002:66) Beyzā'ī’s plays are based on Iranian traditions and folklore. His outlook is philosophical, “wrapped in a cloak of complex similes to the extent that many of the characters in his work wander between mythology and historical or social symbols.” (M.R. Ghanoonparvar, John Green 1989, p.xxii) The marionettes characters are modeled from traditional Iranian puppet shows. The classification of cultural elements by Newmark (1988) is as follows: “Ecology, material culture, social culture, organization, customs, ideas, gestures and habits” (Newmark 1988:95). A focus on the suggested procedures to translate CSI and translation strategies by Newmark will also be employed. These procedures include: “Literal translation, transference, cultural equivalent, neutralization, functional equivalent, descriptive equivalent, synonymy, throughtranslation, shift or transpositions, modulation, recognized translation, translation label, compensation, componential analysis, reduction and expansion, paraphrase, couplets, notes, additions, glosses” (Newmark 1988:81-93) to see if the suggested procedures are in fact applicable in the translation of CSIs from Persian to English and what are the most frequently used by translators.

Esta tese se insere na área dos estudos de tradução, com ênfase na tradução teatral ou tradução do drama. É apresentada uma análise dos estudos de tradução no século XXI, com a finalidade de esclarecer o direcionamento atual dessa área do conhecimento. O foco da pesquisa é a tradução do texto teatral, ou tradução do drama, a qual, até a última década, era uma área negligenciada nos estudos da tradução, e, no mundo acadêmico, a peça teatral era, tradicionalmente, vista e traduzida como um texto literário. Para uma melhor compreensão da tradução do texto teatral é apresentada uma análise detalhada de todas as características do texto que possui a particularidade de somente atingir sua concretização quando representado. Também é apresentada uma abordagem histórico-descritiva das teorias da tradução teatral, procurando-se abranger os vários aspectos desse tipo de tradução, que pode ser orientada para o palco (stage-oriented) ou para o leitor (reader-oriented). Para complementar esta pesquisa, é apresentada uma proposta de tradução da peça Guy Domville, de Henry James, embasada nos pressupostos teóricos descritos anteriormente. / The area of research of this thesis is translation studies, with emphasis on theater translation or drama translation. It presents an analysis of the translation studies in the 21st century, in order to clarify the present direction of this area of knowledge. The focus of the research is the translation of theatre texts, which, until the last decade, was a neglected field in translation studies, and, in the world of academe, the stage play was traditionally viewed and translated as a work of literature. For a better understanding of theatre translation is presented a detailed analysis of the features of the theatre text which main characteristic is be written to be performed. Is also presented a historical-descriptive approach of the theater translation theories, aiming to cover the various aspects of this kind of translation, which can be stage-oriented or reader-oriented. To complement this research, is presented a translation of the play Guy Domville, by Henry James, based on the conceptual framework mentioned above.

Esta tese se insere na área dos estudos de tradução, com ênfase na tradução teatral ou tradução do drama. É apresentada uma análise dos estudos de tradução no século XXI, com a finalidade de esclarecer o direcionamento atual dessa área do conhecimento. O foco da pesquisa é a tradução do texto teatral, ou tradução do drama, a qual, até a última década, era uma área negligenciada nos estudos da tradução, e, no mundo acadêmico, a peça teatral era, tradicionalmente, vista e traduzida como um texto literário. Para uma melhor compreensão da tradução do texto teatral é apresentada uma análise detalhada de todas as características do texto que possui a particularidade de somente atingir sua concretização quando representado. Também é apresentada uma abordagem histórico-descritiva das teorias da tradução teatral, procurando-se abranger os vários aspectos desse tipo de tradução, que pode ser orientada para o palco (stage-oriented) ou para o leitor (reader-oriented). Para complementar esta pesquisa, é apresentada uma proposta de tradução da peça Guy Domville, de Henry James, embasada nos pressupostos teóricos descritos anteriormente. / The area of research of this thesis is translation studies, with emphasis on theater translation or drama translation. It presents an analysis of the translation studies in the 21st century, in order to clarify the present direction of this area of knowledge. The focus of the research is the translation of theatre texts, which, until the last decade, was a neglected field in translation studies, and, in the world of academe, the stage play was traditionally viewed and translated as a work of literature. For a better understanding of theatre translation is presented a detailed analysis of the features of the theatre text which main characteristic is be written to be performed. Is also presented a historical-descriptive approach of the theater translation theories, aiming to cover the various aspects of this kind of translation, which can be stage-oriented or reader-oriented. To complement this research, is presented a translation of the play Guy Domville, by Henry James, based on the conceptual framework mentioned above.

Esta tese se insere na área dos estudos de tradução, com ênfase na tradução teatral ou tradução do drama. É apresentada uma análise dos estudos de tradução no século XXI, com a finalidade de esclarecer o direcionamento atual dessa área do conhecimento. O foco da pesquisa é a tradução do texto teatral, ou tradução do drama, a qual, até a última década, era uma área negligenciada nos estudos da tradução, e, no mundo acadêmico, a peça teatral era, tradicionalmente, vista e traduzida como um texto literário. Para uma melhor compreensão da tradução do texto teatral é apresentada uma análise detalhada de todas as características do texto que possui a particularidade de somente atingir sua concretização quando representado. Também é apresentada uma abordagem histórico-descritiva das teorias da tradução teatral, procurando-se abranger os vários aspectos desse tipo de tradução, que pode ser orientada para o palco (stage-oriented) ou para o leitor (reader-oriented). Para complementar esta pesquisa, é apresentada uma proposta de tradução da peça Guy Domville, de Henry James, embasada nos pressupostos teóricos descritos anteriormente. / The area of research of this thesis is translation studies, with emphasis on theater translation or drama translation. It presents an analysis of the translation studies in the 21st century, in order to clarify the present direction of this area of knowledge. The focus of the research is the translation of theatre texts, which, until the last decade, was a neglected field in translation studies, and, in the world of academe, the stage play was traditionally viewed and translated as a work of literature. For a better understanding of theatre translation is presented a detailed analysis of the features of the theatre text which main characteristic is be written to be performed. Is also presented a historical-descriptive approach of the theater translation theories, aiming to cover the various aspects of this kind of translation, which can be stage-oriented or reader-oriented. To complement this research, is presented a translation of the play Guy Domville, by Henry James, based on the conceptual framework mentioned above.

This masters thesis consists of a translation of acts I-IV from Dion Boucicault’s play London Assurance, a theoretical comment on the translation and a comparative study of asides. It is divided into four parts: an introduction, presenting the work and my translation strategy, as well as a short stylistic analysis; source text and translation; a theoretical comment, mainly based on theories from the field of Translation Studies, but also theories on lingustics and literature; and a comparative study of the use of asides as a theatrical convention in English and Swedish drama. The main focus of my translation strategy is to keep or adapt features that give the audience a sense of the cultural context where the play takes place, as well as the time – fashionable society in early Victorian England, while providing a text that is performable and speakable for the actors, and which preserves the humor present in the source text. / Den här masteruppsatsen består av en översättning av akt I-IV i Dion Boucicaults pjäs London Assurance, en teoretisk kommentar rörande översättningen samt en komparativ undersökning av avsidesrepliker. Den är uppdelad i fyra delar: en inledning där verket och min översättningsstrategi presenteras samt där en kort stilistisk analys görs, källtext och översättning, en teoretisk kommentar som främst grundar sig i översättningsvetenskapliga teorier, men även i språk- och litteraturvetenskapliga, samt en komparativ undersökning av användningen av avsidesrepliker som teaterkonvention i engelskt och svenskt drama. Min översättningsstrategi fokuserar på att behålla eller bearbeta sådana drag som ger publiken en känsla av pjäsens kulturella och tidsmässiga kontext – högre societet i det tidiga viktorianska England – samtidigt som texten ska vara spelbar och talbar för skådespelarna, och bevara den humor som finns i källtexten.

Denna kandidatuppsats utgår från en egen översättning från franska till svenska av delar ur pjäsen Hôtel Pacifiqueav den franskkanadensiska författaren Fanny Britt.Syftet med examensarbetet är, förutom att skapa en spelbar text som fungerar i sin målspråkskontext, att undersöka det specifika i att översätta dramatik. I syftet ingår också att belysa och skapa förståelse för Québecfranskan och problem relaterade till att översätta språklig varietet. Det talade ordet står genomgående i fokus: replikerna i dramatexten och de karaktäristiska muntliga dragen för Québecfranskan. Newmarks kommunikativa översättningsmetod används som övergripande översättningsprincip för arbetet och visar sig vara kompatibel med texttypen trots vissa undantag. Resultatet blev en modern svensk pjäs med talspråkligt och idiomatiskt språk i replikerna. För att avgöra om texten är spelbar krävs dock att dramat uppförs på scen, vilket är ett framtida mål. / This essay is based on my own translation from French to Swedish of parts of the play Hôtel Pacifiqueby the Québécois author Fanny Britt. The purpose of the essay, apart from creating a text performable in its target language context, is to discuss and analyze the specialized nature of translating drama. The essay also aims to provide new perspectives on Québécois French and problems related to translating language varieties. The spoken word is the focal point: i.e. the lines of the drama and the characteristic oral features of Québécois French. Newmark's communicative translation method is used as the main translation principle. The method proves to be compatible with the text type despite certain exceptions. The result was a modern Swedish play with colloquial and idiomatic language. However, in order to determine if the text is performable, the drama must be presented on stage, which is a future goal.

v anglickém jazyce This thesis deals with the dramatic production of Francophone African authors and the translation of their texts into Czech. The theoretical part briefly describes the history of African drama and its specific elements. The following chapters examine the perception of this specific genre in Europe - especially in France and the Czech Republic. The thesis also documents the history of the Czech festival Africa in Creation, which has been held in Prague in the first decade of the new millennium. During its existence, it presented many African authors. Later, their plays were translated into Czech within the series The Contemporary play, published by the Arts and Theatre Institute. From the point of view of translatology, the study focuses on the general theory of the drama translation (based on the theories of translation from the 2nd part of the 20th century, especially the Czech model of Jiří Levý) and the post-colonial and cultural translation theories. In general, the aim of the study is to define the problems which the translator could be faced with translating the text from the culture which is diametrically different from the target one. Based on this theoretical ground, a critical analysis has been made in order to examine three plays by African playwrights and their Czech...

The Master's thesis provides an analytic overview of translated dramatic texts from French to Czech after 1989. It focuses on the proportional representation of contemporary plays as well as on translators' work. The first part of the thesis gives a brief idea of contemporary French dramatic art and points out different expectations of French theatre spectators and readers in comparaison with the Czech ones. Subsequently, the specificity of drama translation and the role of translator in drama translation process is clarified according to existing theories. The main part focuses on analysis of list of the Czech translations created between 1990 and 2015 that are available to the public. As expected, drama publishing shows marginal and decreasing tendency and the majority of published authors are represented by classics. In general, contemporary texts prevail among theatre agency translations, most of which are represented by comedy plays. However individual efforts and projects help to broaden the image of French contemporary drama. Individual interviews with translators and publishers enrich the analysis with experience from professional practice. Key words: contemporary French drama, drama translation, dramatic text, role of translator, sociology of translation, translation production, drama...