Translating Mannerism : Translator as Dramaturg in Adapting
Generic Specifics

k 2018

Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics

KAČER, Tomáš

Basic information

Original name

Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics

Authors

KAČER, Tomáš (203 Czech Republic, guarantor, belonging to the institution)

Edition

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

Other information

Language

English

Type of outcome

Prezentace na konferencích

Field of Study

60206 Specific literatures

Country of publisher

Czech Republic

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

URL

RIV identification code

RIV/00216224:14210/18:00101154

Organization unit

Faculty of Arts

Keywords in English

translation; dramaturgy; mannerism

Abstract

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.

Links

GA16-20335S, research and development project

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

Investor: Czech Science Foundation

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.

@proceedings{1434077,
   author = {Kačer, Tomáš},
   booktitle = {14th ESSE Conference, 29 August - 2 September, Masaryk University, Brno, Czech Republic},
   keywords = {translation; dramaturgy; mannerism},
   language = {eng},
   title = {Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics},
   url = {https://www.esse2018brno.org/programme/detailed-programme},
   year = {2018}
}

TY  - CONF
ID  - 1434077
AU  - Kačer, Tomáš
PY  - 2018
TI  - Translating Mannerism : Translator as Dramaturg in Adapting Generic Specifics
KW  - translation
KW  - dramaturgy
KW  - mannerism
UR  - https://www.esse2018brno.org/programme/detailed-programme
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.

Detailed Information on Publication Record