The author approaches the subject of translating for theatre both as a theatre practitioner and professional translator working in three languages. Translation is generally regarded as process of linguistic transfer from one language to another language in written form. Theatrical texts are an unique literary form because their written form is a base, anchor and springboard for the text in performance. Until recently, translation studies have tended to oscillate between lofty pronouncements which remain too general to be easily applicable to the practical task of translating and close textual analysis which may appear fastidious and overly specific. The art of translation has often wanted to call itself a science, thereby ostensibly increasing its credibility. However nowhere more in the context of theatre can it be justifiably called an art, with all that entails in terms of subjectivity, cultural bias and transitory or timeless validity. There is no such thing as a perfect translation. Translation is a process of endless learning. Several translation theorists have offered broad categorisations or lengthy rationalised lists to help define the parameters of this most tangible practice. No such lists exist which addressed the specific criteria of translation for theatre. Through personal experience and critical reflection, this thesis will offer the beginning of a blueprint which may be useful for translators working in this field / Master of Arts (Hons)(Performance)
| Identifer | oai:union.ndltd.org:ADTP/182367 |
| Date | January 1997 |
| Creators | Fletcher, Narelle, University of Western Sydney, Faculty of Performance, Fine Arts and Design, School of Design |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Source | THESIS_FPFAD_SD_Fletcher_N.xml |
Page generated in 0.0025 seconds