Translating Mannerism : Translator as Dramaturg in Adapting
Generic Specifics

a 2018

Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics

KAČER, Tomáš

Základní údaje

Originální název

Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics

Autoři

KAČER, Tomáš

Vydání

14th ESSE Conference, 29 August - 2 September, Masaryk University, Brno, Czech Republic, 2018

Další údaje

Jazyk

angličtina

Typ výsledku

Konferenční abstrakt

Obor

60206 Specific literatures

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/18:00101153

Organizační jednotka

Filozofická fakulta

ISBN

978-80-210-9015-6

Klíčová slova anglicky

translation; dramaturgy; mannerism

Štítky

rivok

Příznaky

Mezinárodní význam, Recenzováno

Změněno: 13. 3. 2019 09:45, Mgr. Jana Pelclová, Ph.D.

Anotace

V originále

A translator of drama, when translating for stage rather than page, often has to make choices that anticipate a producer’s decisions regarding adaptations of the given play to intended audiences. These choices include, among other complex strategic decisions, present-day vocabulary and phrases, in order to achieve an equivalent effect on audiences as the intended one of the original, where a period-equivalent translation would hinder understanding. In my recent translation, I encountered a specific kind of such obsoleteness, which called for an updated translation in case the result were to be intended for a production. Translating Exorcism by Eugene O’Neill (1920), I was confronted with a language of his expressionistic stage. The “Oh’s” and “Ah’s” of a suffering young male alcoholic’s soliloquies are markers of period-and genre-specific style that require alterations in case an equivalent effect is to be produced in audiences today. Generally speaking, mannerisms of past genres inevitably grow obsolete and dysfunctional for audiences, who identify them as marks of historical stages of theatrical expression. The intention of this presentation is to open up a discussion on a translator’s role as dramaturg in adapting period generic specifics and mannerisms for audiences today.

Návaznosti

GA16-20335S, projekt VaV

Název: Divadlo jako syntéza uměni: Otakar Zich v kontextu moderní vědy a dnešní potenciál jeho konceptů (Akronym: ZICHDIVADLO)

Investor: Grantová agentura ČR, Divadlo jako syntéza umění: Otakar Zich v kontextu moderní vědy a dnešní potenciál jeho konceptů

Citovat

KAČER, Tomáš. Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics. In 14th ESSE Conference, 29 August - 2 September, Masaryk University, Brno, Czech Republic. 2018. ISBN 978-80-210-9015-6.

@proceedings{1434076,
   author = {Kačer, Tomáš},
   booktitle = {14th ESSE Conference, 29 August - 2 September, Masaryk University, Brno, Czech Republic},
   keywords = {translation; dramaturgy; mannerism},
   language = {eng},
   isbn = {978-80-210-9015-6},
   title = {Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics},
   url = {https://www.esse2018brno.org/media/3099886/online_esse_abstracts_2018.pdf},
   year = {2018}
}

TY  - CONF
ID  - 1434076
AU  - Kačer, Tomáš
PY  - 2018
TI  - Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics
SN  - 9788021090156
KW  - translation
KW  - dramaturgy
KW  - mannerism
UR  - https://www.esse2018brno.org/media/3099886/online_esse_abstracts_2018.pdf
N2  - A translator of drama, when translating for stage rather than page, often has to make choices that anticipate a producer’s decisions regarding adaptations of the given play to intended audiences. These choices include, among other complex strategic decisions, present-day vocabulary and phrases, in order to achieve an equivalent effect on audiences as the intended one of the original, where a period-equivalent translation would hinder understanding. In my recent translation, I encountered a specific kind of such obsoleteness, which called for an updated translation in case the result were to be intended for a production. Translating Exorcism by Eugene O’Neill (1920), I was confronted with a language of his expressionistic stage. The “Oh’s” and “Ah’s” of a suffering young male alcoholic’s soliloquies are markers of period-and genre-specific style that require alterations in case an equivalent effect is to be produced in audiences today. Generally speaking, mannerisms of past genres inevitably grow obsolete and dysfunctional for audiences, who identify them as marks of historical stages of theatrical expression. The intention of this presentation is to open up a discussion on a translator’s role as dramaturg in adapting period generic specifics and mannerisms for audiences today.
ER  -

KAČER, Tomáš. Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics. In \textit{14th ESSE Conference, 29 August - 2 September, Masaryk University, Brno, Czech Republic}. 2018. ISBN~978-80-210-9015-6.

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