Esta dissertação procura entender, através da comparação entre as narrativas O Alienista (1882) e a Enfermaria nº 6 (1892); e O Espelho (1882) e Queridinha (1898), as primeiras de Machado de Assis (1839-1908) e as segundas de Tchekhov (1860-1904), como se formavam as identidades subjetiva e social na segunda metade do século XIX, na Rússia e no Brasil. Na primeira comparação, aproximamos dois textos que tratam de um assunto muito discutido naquele período, a loucura. Tentamos entender qual era o lugar do louco na nova configuração dessas duas sociedades e a conformação da loucura em identidade social. Na segunda comparação, sugerimos uma interpretação da teoria apresentada no conto O Espelho, e analisamos Queridinha, a personagem do conto homônimo de Tchekhov, empregando essa teoria / This dissertation aims to understand, through the comparison between The Alienist (1882) and Ward no. 6 (1892); and The Mirror (1882) and The Darling (1898), the first ones written by Machado de Assis (1839-1908) and the others written by Chekhov (1860-1904), how subjective and social identities were formed in the second half of the 19th century in Russia and Brazil. In the first comparison we approach the theme of madness, a much discussed topic at the time. We try to understand the place of madmen in the new configuration of both societies and the conformation of madness as social identity. In the second comparison, we suggest an interpretation for the theory presented in The mirror and analyze the protagonist of Chekhovs short story The Darling though this theory

Esta dissertação procura entender, através da comparação entre as narrativas O Alienista (1882) e a Enfermaria nº 6 (1892); e O Espelho (1882) e Queridinha (1898), as primeiras de Machado de Assis (1839-1908) e as segundas de Tchekhov (1860-1904), como se formavam as identidades subjetiva e social na segunda metade do século XIX, na Rússia e no Brasil. Na primeira comparação, aproximamos dois textos que tratam de um assunto muito discutido naquele período, a loucura. Tentamos entender qual era o lugar do louco na nova configuração dessas duas sociedades e a conformação da loucura em identidade social. Na segunda comparação, sugerimos uma interpretação da teoria apresentada no conto O Espelho, e analisamos Queridinha, a personagem do conto homônimo de Tchekhov, empregando essa teoria / This dissertation aims to understand, through the comparison between The Alienist (1882) and Ward no. 6 (1892); and The Mirror (1882) and The Darling (1898), the first ones written by Machado de Assis (1839-1908) and the others written by Chekhov (1860-1904), how subjective and social identities were formed in the second half of the 19th century in Russia and Brazil. In the first comparison we approach the theme of madness, a much discussed topic at the time. We try to understand the place of madmen in the new configuration of both societies and the conformation of madness as social identity. In the second comparison, we suggest an interpretation for the theory presented in The mirror and analyze the protagonist of Chekhovs short story The Darling though this theory

Réalisé en codirection avec Hélène Buzelin / Depuis le début des années 1980, le milieu théâtral québécois manifeste un intérêt croissant pour Tchekhov. Pourtant, les pièces traduites ne répondent pas à la tendance qui, dans le Québec des années 1970-1980, consistait à adapter les classiques du théâtre étranger de façon ethnocentrique, notamment en les traduisant en québécois. Pour Tchekhov, les traducteurs et les praticiens semblent davantage préoccupés par la dimension dramaturgique de la langue que par l'adaptation au contexte sociolinguistique d'accueil. Intriguée par ce phénomène, nous avons cherché à le vérifier et à le comprendre dans le présent mémoire en analysant trois traductions québécoises d’Oncle Vania, représentées entre 1983 et 2001. Notre travail se trouve au carrefour de deux disciplines : la traductologie et l’analyse dramaturgique. Il cherche à démontrer l’ancrage proprement dramaturgique des différentes stratégies de traduction d’Oncle Vania en étudiant la série de leurs concrétisations, du texte source jusqu’à la mise en jeu cible. Le corpus se compose de deux traductions à visée mimétique et d’une réécriture. Dans l'Oncle Vania de Michel Tremblay (1983), l'idiolecte du personnage de Marina a été traduit en joual de façon à recréer l'effet dramaturgique source. Dans Uncle Vanya (1993), une production anglaise du Théâtre du Centaur, les répliques de Sérébriakov ont été traduites en français par Jean-Louis Roux, l'interprète du personnage, et mettent en valeur plusieurs traits distinctifs de celui-ci. La troisième pièce à l'étude est une réécriture de la pièce par Howard Barker, (Uncle) Vanya, traduite au Québec par Paul Lefebvre (2001). La vulgarité de la langue de cette pièce a été traduite de façon sémantique pour recréer la relation déstabilisante spectacle/spectateur propre au Théâtre de la Catastrophe de Barker. Très différentes les unes des autres, ces versions d'Oncle Vania démontrent que la traduction peut s'inscrire, en tant que processus d'analyse dramaturgique, au sein de la critique et de la réflexion sur l'œuvre de Tchekhov. En effet, ces traductions semblent participer davantage de l'histoire globale de l'interprétation du théâtre de Tchekhov en français que d’un projet sociopolitique. Ce mémoire contribue ainsi aux études de traductologie, en y intégrant des modalités d’analyse dramaturgique et apporte un nouvel éclairage à l’histoire de la traduction théâtrale au Québec. / Since the beginning of the 1980’s, Quebec's theatrical milieu interest for Chekhov plays is growing. However, the translated plays do not reflect the tendency which, in the 1970’s and the 1980’s, consisted in adapting the foreign classics of theater in an ethnocentric way, especially by translating them into québécois French. For Chekhov, the translators and the practitioners seemed more worried about the dramaturgic aspects of the language than by the sociolinguistic adaptation of the plays to the context of reception. Intrigued by this phenomenon, we tried to verify and understand it by analyzing three Uncle Vania plays translated and produced in Quebec between 1983 and 2001. Our work is at the crossroads of two disciplines : traductology and dramaturgical analysis. It tries to demonstrate the strictly dramaturgic roots of the various translations strategies for Uncle Vania by studying the series of their concretizations, from the source text to the target mise en jeu. The corpus consists of two mimetic translations and a rewriting. The first play is Oncle Vania, translated by Michel Tremblay (1983), where the idiolect of Marina, one of the characters, was translated in joual in order to recreate the dramaturgic effect of the source text. In the second translation, Uncle Vanya, played in English at the Centaur Theater (1993), the lines of professor Serebryakov were translated into French by Jean-Louis Roux, the character's interpreter, and emphasize several of his characteristics. The third play of the corpus is a rewriting of Chekhov's, (Uncle) Vanya by Howard Barker, translated in Quebec by Paul Lefebvre (2001). The vulgarity of the language of this last play was translated in a semantic way, in order to recreate the show/spectator relation particular to the Barker’s Theatre of Catastrophe. These Uncle Vania’s versions are very different from one another and demonstrate that translation, as a process of dramaturgic analysis, can contribute to the criticism and the reflection on the work of Chekhov. In fact, these translations seem to participate more in the global history of the interpretation of Chekhov’s theater in French, than in a sociopolitical reading of theatrical translation in Quebec. In contributing top translation studies by the mean of dramaturgical analysis, this work also sheds new light on the history of theatrical translation in Quebec.

Um dos primeiros e principais encenadores do século XX, Konstantin S. Stanislávski é amplamente conhecido por suas obras voltadas ao ator. Suas encenações, que fascinaram o público russo e das principais capitais do mundo e influenciaram o teatro ocidental, não são tão discutidas e estudadas. O presente trabalho traz em tradução direta da língua russa, inédita em português, as Partituras de Encenação de Stanislávski para a montagem do texto As três irmãs, de Anton Tchekhov, também em nova tradução direta. O encontro entre K. Stansilávski e A. Tchekhov foi de extrema importância para a construção da identidade artística do Teatro de Arte de Moscou (TAM), uma das mais importantes companhias de teatro do mundo. Os vestígios desse encontro estão minuciosamente sistematizados nas Partituras de Stanislávski. Apoiado no texto dramático o encenador criou centenas de notas esclarecendo desde entonações da fala das personagens até ruídos externos e detalhes da maquinaria cênica. Com a leitura dessas partituras torna-se possível imaginar a montagem do TAM e compreender que tipo de diálogo o encenador estabelece com o texto dramático de Tchekhov. / One of the twenty centurys first and most important theatre directors, Konstantin S. Stanislavsky is also broadly known for his studies and researches on acting. Despite fascinating audiences in Russia and in the main capitals of the world, influencing most of the western theatre, Stanislavskys stagings have not been entirely analised or discussed. The current study is a unique translation into Portuguese of Stanislavskis staging scores to the play Three sisters by A. Chekhov. In addition, it presents a new translation of the play, also directly from Russian. The meeting between K. Stanislavski and A. Chekhov was essential for the construction of an artistic identity for the Moscow Art Theatre (MAT), one of the worlds leading theatre companies. Traces of this gathering are carefully detailed on Stanislavskys staging scores. Based on Chekhovs text, the director created hundreds of notes clarifying since the intonation of characters voices and external sounds to details of sets. By analising Stanislavskys staging scores it is possible to imagine MATs production as well as comprehend the type of dialogue the director establishes with Chekhovs dramatic text.

Um dos primeiros e principais encenadores do século XX, Konstantin S. Stanislávski é amplamente conhecido por suas obras voltadas ao ator. Suas encenações, que fascinaram o público russo e das principais capitais do mundo e influenciaram o teatro ocidental, não são tão discutidas e estudadas. O presente trabalho traz em tradução direta da língua russa, inédita em português, as Partituras de Encenação de Stanislávski para a montagem do texto As três irmãs, de Anton Tchekhov, também em nova tradução direta. O encontro entre K. Stansilávski e A. Tchekhov foi de extrema importância para a construção da identidade artística do Teatro de Arte de Moscou (TAM), uma das mais importantes companhias de teatro do mundo. Os vestígios desse encontro estão minuciosamente sistematizados nas Partituras de Stanislávski. Apoiado no texto dramático o encenador criou centenas de notas esclarecendo desde entonações da fala das personagens até ruídos externos e detalhes da maquinaria cênica. Com a leitura dessas partituras torna-se possível imaginar a montagem do TAM e compreender que tipo de diálogo o encenador estabelece com o texto dramático de Tchekhov. / One of the twenty centurys first and most important theatre directors, Konstantin S. Stanislavsky is also broadly known for his studies and researches on acting. Despite fascinating audiences in Russia and in the main capitals of the world, influencing most of the western theatre, Stanislavskys stagings have not been entirely analised or discussed. The current study is a unique translation into Portuguese of Stanislavskis staging scores to the play Three sisters by A. Chekhov. In addition, it presents a new translation of the play, also directly from Russian. The meeting between K. Stanislavski and A. Chekhov was essential for the construction of an artistic identity for the Moscow Art Theatre (MAT), one of the worlds leading theatre companies. Traces of this gathering are carefully detailed on Stanislavskys staging scores. Based on Chekhovs text, the director created hundreds of notes clarifying since the intonation of characters voices and external sounds to details of sets. By analising Stanislavskys staging scores it is possible to imagine MATs production as well as comprehend the type of dialogue the director establishes with Chekhovs dramatic text.

Depuis le début des années 1980, le milieu théâtral québécois manifeste un intérêt croissant pour Tchekhov. Pourtant, les pièces traduites ne répondent pas à la tendance qui, dans le Québec des années 1970-1980, consistait à adapter les classiques du théâtre étranger de façon ethnocentrique, notamment en les traduisant en québécois. Pour Tchekhov, les traducteurs et les praticiens semblent davantage préoccupés par la dimension dramaturgique de la langue que par l'adaptation au contexte sociolinguistique d'accueil. Intriguée par ce phénomène, nous avons cherché à le vérifier et à le comprendre dans le présent mémoire en analysant trois traductions québécoises d’Oncle Vania, représentées entre 1983 et 2001. Notre travail se trouve au carrefour de deux disciplines : la traductologie et l’analyse dramaturgique. Il cherche à démontrer l’ancrage proprement dramaturgique des différentes stratégies de traduction d’Oncle Vania en étudiant la série de leurs concrétisations, du texte source jusqu’à la mise en jeu cible. Le corpus se compose de deux traductions à visée mimétique et d’une réécriture. Dans l'Oncle Vania de Michel Tremblay (1983), l'idiolecte du personnage de Marina a été traduit en joual de façon à recréer l'effet dramaturgique source. Dans Uncle Vanya (1993), une production anglaise du Théâtre du Centaur, les répliques de Sérébriakov ont été traduites en français par Jean-Louis Roux, l'interprète du personnage, et mettent en valeur plusieurs traits distinctifs de celui-ci. La troisième pièce à l'étude est une réécriture de la pièce par Howard Barker, (Uncle) Vanya, traduite au Québec par Paul Lefebvre (2001). La vulgarité de la langue de cette pièce a été traduite de façon sémantique pour recréer la relation déstabilisante spectacle/spectateur propre au Théâtre de la Catastrophe de Barker. Très différentes les unes des autres, ces versions d'Oncle Vania démontrent que la traduction peut s'inscrire, en tant que processus d'analyse dramaturgique, au sein de la critique et de la réflexion sur l'œuvre de Tchekhov. En effet, ces traductions semblent participer davantage de l'histoire globale de l'interprétation du théâtre de Tchekhov en français que d’un projet sociopolitique. Ce mémoire contribue ainsi aux études de traductologie, en y intégrant des modalités d’analyse dramaturgique et apporte un nouvel éclairage à l’histoire de la traduction théâtrale au Québec. / Since the beginning of the 1980’s, Quebec's theatrical milieu interest for Chekhov plays is growing. However, the translated plays do not reflect the tendency which, in the 1970’s and the 1980’s, consisted in adapting the foreign classics of theater in an ethnocentric way, especially by translating them into québécois French. For Chekhov, the translators and the practitioners seemed more worried about the dramaturgic aspects of the language than by the sociolinguistic adaptation of the plays to the context of reception. Intrigued by this phenomenon, we tried to verify and understand it by analyzing three Uncle Vania plays translated and produced in Quebec between 1983 and 2001. Our work is at the crossroads of two disciplines : traductology and dramaturgical analysis. It tries to demonstrate the strictly dramaturgic roots of the various translations strategies for Uncle Vania by studying the series of their concretizations, from the source text to the target mise en jeu. The corpus consists of two mimetic translations and a rewriting. The first play is Oncle Vania, translated by Michel Tremblay (1983), where the idiolect of Marina, one of the characters, was translated in joual in order to recreate the dramaturgic effect of the source text. In the second translation, Uncle Vanya, played in English at the Centaur Theater (1993), the lines of professor Serebryakov were translated into French by Jean-Louis Roux, the character's interpreter, and emphasize several of his characteristics. The third play of the corpus is a rewriting of Chekhov's, (Uncle) Vanya by Howard Barker, translated in Quebec by Paul Lefebvre (2001). The vulgarity of the language of this last play was translated in a semantic way, in order to recreate the show/spectator relation particular to the Barker’s Theatre of Catastrophe. These Uncle Vania’s versions are very different from one another and demonstrate that translation, as a process of dramaturgic analysis, can contribute to the criticism and the reflection on the work of Chekhov. In fact, these translations seem to participate more in the global history of the interpretation of Chekhov’s theater in French, than in a sociopolitical reading of theatrical translation in Quebec. In contributing top translation studies by the mean of dramaturgical analysis, this work also sheds new light on the history of theatrical translation in Quebec. / Réalisé en codirection avec Hélène Buzelin