Amongst the rich variety of metaphors used to describe the process of transferring texts from one language into another, the parallels between translating and the acting process enjoy a prominent place. This thesis examines the arguments of both translation scholars and practitioners who highlight a need for translators to be able to function as actors do, particularly when translating for the stage, or to have at least an understanding of how actors work. By comparing and contrasting the creative process involved in translation, particularly drama translation, with that fostered by a particular method of drama training, namely that developed by Konstantin Stanislavsky, it is the purpose of this thesis not only to explore whether and how an awareness of the ways actors work could be of benefit to the translator, but also to examine the implications of thinking of the Translator as Actor. This thesis will initially offer an overview and contextualisation of the Stanislavskian approach to acting (Chapter I) and of existing approaches to drama translation (Chapter II). It will seek to examine the core aspects of the Stanislavskian approach to preparing for a performance (Chapters III-VI), and will explore areas of similarity and difference between this and the work of translation. In the final chapter (Conclusions), an attempt will be made to evaluate the extent to which the work of drama translators may be informed by the practices of Stanislavskian actors, as well as the validity of thinking of the Translator as Actor.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:582374 |
| Date | January 2013 |
| Creators | Kritsis, Konstantinos |
| Publisher | University of Warwick |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://wrap.warwick.ac.uk/57272/ |
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