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Multilingual theatre offers aesthetic and socio-political outlets for theatre-makers to interrogate linguistic conventions in performance as well as to challenge social identity constructions based on language. However, a polyglossic play text poses particular challenges to translators whose goal exceeds the literary exchange of words in one language for those in another. In performance, the semantic value of speaking in an "other" language is carried in language itself; this is a translation problem if the target culture does not understand the socio-political conditions that determine the value of a speaker's language choice. This subject is here addressed via an interrogation of the meaning of language itself. An analysis of code-switching theory, paired with an examination of post-colonial and theatrical translation theories, provide the necessary framework for an analysis of how Martin Kevan translated Ne blmez jamais les Bdouins in an effort which is sensitive to the cultural context of its performance.

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Dans la présente thèse nous formulons une réflexion sur la traduction des classiques du théâtre à travers les trois catégories traductologiques de l’herméneutique, de l’oralité et de la temporalité. A cet effet, nous envisageons la traduction comme le résultat d’un processus herméneutique concernant l’œuvre dans sa totalité. Au centre de ce processus, nous plaçons le sujet traduisant, dont la culture individuelle – à son tour reflet et déclinaison de la culture collective de l’espace-temps cible – constitue l’horizon d’interaction avec l’œuvre source. En découle la saisie d’un Sens total, au-delà du simple sens textuel, qui inclut une inscription dans la temporalité et l’identification d’une théâtralité, tout particulièrement vocale. Posant cette construction comme hypothèse de fond, nous recherchons les marques d’une telle interprétation de l’œuvre dans l’oralité de la traduction. Nous imaginons cette dernière comme la projection d’une voix performée et la concevons comme un tissu composite dans lequel les dimensions linguistique, rythmique et vocale participent à la construction d’un discours contemporain sur l’œuvre classique, le théâtre du passé, le théâtre du présent, sur la traduction elle-même et sa relation au temps. Un corpus de traductions italiennes contemporaines de Phèdre et Dom Juan destinées à la représentation scénique constitue la pierre de touche pour la vérification de notre hypothèse, tout en apportant un éclairage sur la réception des classiques du théâtre français en Italie. / In this thesis, we focus on theatre classics and on the interaction between hermeneutics, orality and temporality. To this aim, we think of translation as the result of a hermeneutical process which goes beyond the text and includes an interpretation of the play as a whole. In this framework, the translator plays a central role as they interact with the source text through the hermeneutical horizon of their individual and collective culture, extracting a Sense which extends to the perception of a specific temporality and theatricality. Our hypothesis is that this Sense can be found in the orality of the translative writing, which we consider to be the projection of voice in performance and which we define as a combination of language, rhythm and vocality, resulting in a contemporary discourse about the classic work, about theatre – both past and present – and about translation itself, as well as about its relationship to time. A corpus of Italian translations of Phèdre and Dom Juan for the stage helps verify our hypothesis, while offering an insight into the reception of French classical theatre in Italy.

Requiem for the Last Kaiser by the Cameroonian playwright Bate Besong, is a play characterised by singular translational challenges. These challenges range from the presence of many different languages in the text to the use of humour and intratextual references taken from a various range of sources such as the Bible, world history and politics, etc. In our 21st century world, where translation has been described as the language of Europe by Umberto Eco, Africa’s literary treasures should be given a wider readership by means of translation, starting with French, to introduce the writer’s work to French-speaking Cameroonians and from there to other Francophones. The aim of this research was to determine in what way multilingualism in the play could affect its translation and, secondly, how to translate the various multilingual utterances. The focus was put on the rendition of the play’s multilingual elements in a language or languages understandable to a French-speaking readership while keeping the author’s initial intention in mind. This was done firstly by gathering relevant knowledge on theatre as well as literary and theatrical translation, and on the other hand on literary multilingualism and multilingual translation. Subsequently, 28 text segments including multilingual utterances were extracted from the source text, analysed using a combination of the functionalist approach and hermeneutics, and translated. Several translation strategies and procedures were used, among which literalism was particularly successful. It was found that these could not be generalised and that translation choices should be made for each individual utterance. The play impacts on the literary, sociolinguistic, political, and sociological domains, as it dates from the 1990s, a period of Cameroonian history marked by popular uprisings and the struggle for democracy. Attempting a partial translation of Requiem for the Last Kaiser was a means of contributing to the field of multilingual theatre translation, sharing the richness of Bate Besong’s literary work and giving Cameroonian literature in English the port of access it needs since it has not yet attained the recognition it surely deserves. / Dissertation (MA)--University of Pretoria, 2013. / gm2014 / Modern European Languages / unrestricted

[pt] Os estudos em torno de Edna St. Vincent Millay (1892—1950) apresentam lacunas. Sua obra é atrelada a um romantismo extemporâneo, incompatível com as revoluções formais que fundaram o cânone modernista. Contudo, foi contemporânea de autores que forjaram esse cânone. Uma análise formal de seu trabalho que leve em conta critérios mais consensuais em estudos de forma é imprescindível para refletir sobre isso; mas limitar-se a essa análise seria insuficiente para entender a complexidade de um trabalho como a peça Aria da capo, que parece simples em um primeiro momento, mas que traz em si o âmago dessas lacunas a serem investigadas em torno de Millay. Levando-se em conta alguns conceitos-chave em Estudos da Tradução, que se consolidam a partir da Virada Cultural que combina os Estudos Culturais com os Estudos Feministas, e, ainda, tomando como base a premissa fundamental em Paulo Henriques Britto segundo a qual os aspectos formais de um texto muitas vezes contêm mais poeticidade do que o sentido das palavras, esta pesquisa tem o intuito de apresentar uma tradução anotada dessa peça. Pretende-se, assim, analisar seus desafios tradutórios sem deixar de lado as especificidades relativas à tradução de teatro que, neste caso, alinha-se à tradução de poesia por se tratar de um drama em verso do início do século XX. Ao tangenciar as idiossincrasias do trabalho dessa autora a partir da tradução desta peça, observando sua proposta estética e seus ideais para pensar o lugar que ela ocupa, almeja-se colaborar para difundir sua obra. / [en] Studies on Edna St. Vincent Millay (1892—1950) contain gaps. Her work is yoked to a dated romanticism, incompatible with the formal revolutions that founded the modernist canon. Nevertheless, she was a contemporary of authors who forged this canon. A formal analysis of her work that takes into account more consensual criteria in studies of form is essential to reflect on this; but limiting oneself to this analysis would be insufficient to understand the complexity of a work such as the play Aria da capo, which seems simple at first, but bears within itself the core of these gaps to be investigated around Millay. Taking into account some key concepts in Translation Studies, which have been consolidated since the Cultural Turn that combines Cultural Studies with Feminist Studies, and also based in Paulo Henriques Britto s fundamental premise according to which the formal aspects of a text often contain more poetic character than the meaning of the words, this research aims to present an annotated translation of this play. The aim is to analyze its translational challenges without neglecting the specificities of theater translation, which, in this case, also includes problems of poetry translation, since it is a drama in verse from the early 20th century. By touching on the idiosyncrasies of this author s work through the translation of this play, observing her aesthetic proposal and her ideals in order to reflect on the role she occupies, this study intends to contribute to the dissemination of her work.

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.

Denna uppsats ämnar göra ett nedslag i svensk teateröversättning för den svenska teaterscenen. Teateröversättning är ett relativt outforskat forskningsfält generellt, men i synnerhet råder det en avsaknad av studier som fokuserar på svenska teateröversättningar. I detta syfte har undersökningen valt att analysera William Shakespeares, Hamlet, genom att analysera ett urval av svenska Hamletuppsättningar och tillhörande metatexter återskapas de strategier och normer som översättaren inkorporerar vid nyöversättning från den engelska källtexten till den svenska måltexten. Tre spelversioner av Hamlet från produktioner i Dramatens regi åren 1974 i översättning av Allan Bergstrand, 1986 i översättning av Britt G. Hallqvist och 2008 i översättning av Ulf Peter Hallberg utgör studiens material. Vidare har en variabelanalys genomförts där variablerna strykning, textindelning, pronominalbruk och bildspråk analyserats, både på makrotextuell nivå och mikrotextuell nivå. Resultatet visar att spelversionerna skiljer sig något åt när det kommer till strategier och textuella normer. Hamlet från 1974 tenderar att vara mer adekvansinriktad medan Hamlet från 1986 och 2008 tenderar att vara mer acceptansinriktade. Studien fann även att ingen av de undersökta spelversionerna lever upp till rådande normer när det kommer till mottagande. / This thesis seeks to touch upon Swedish theatre translations produced for the Swedish stage. Theatre translation is generally an relatively unchartered field, but there is particularly a lack of studies focused on Swedish theatre translation. For this reason this thesis has chosen to analyse William Shakespeare’s Hamlet. By analysing a selection of Hamlet productions and corresponding metatexts this thesis recreates strategies and norms incorporated in a retranslation of the English source text into a Swedish target text.Three stage versions of Hamlet, all productions of Dramaten from the years 1974, translated by Allan Bergstrand, 1986, translated by Britt G. Hallqvist, and 2008, translated by Ulf Peter Hallberg, were selected for this purpose. In addition, the following variables where investigated: reduction, textual structure, pronouns and imagery. This analysis was conducted both on a macro texual level and a micro textual level. The study shows that the stage version of Hamlet 1974 tends to be more adequate while the stage versions from 1986 and 2008 tend to be more acceptable when it comes to strategies. The thesis also found that none of the investigated stage versions fulfilled the expectancy norms of the audience.