Rewriting for the Spanish Stage

[EN] In the course of my research on translations of English drama into Spanish, I have dealt with a variety of target texts considered, and many times labelled, "translations" or "versions". In most cases the translator presents a play originally written in English to the Spanis...

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Detalles Bibliográficos
Autor: Merino Álvarez, Raquel
Tipo de recurso: artículo
Fecha de publicación:1992
País:España
Institución:Universidad del País Vasco
Repositorio:Addi. Archivo Digital para la Docencia y la Investigación
OAI Identifier:oai:addi.ehu.eus:10810/47781
Acceso en línea:http://hdl.handle.net/10810/47781
Access Level:acceso abierto
Palabra clave:theatre translation
Translation and rewriting
Langston Hugues
Mulatto
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spelling Rewriting for the Spanish StageMerino Álvarez, Raqueltheatre translationTranslation and rewritingLangston HuguesMulatto[EN] In the course of my research on translations of English drama into Spanish, I have dealt with a variety of target texts considered, and many times labelled, "translations" or "versions". In most cases the translator presents a play originally written in English to the Spanish audiences in their own language. There are sorne translators who are allegedly faithful to the original, some others who claim they have "adapted" the play to a stage or audience, and there is a small group of so called translators who rewrite the original and make the play their own. The purpose of this paper is to discuss those instances of rewriting in the light of the results of a large scale research work, just completed this year, in which I have studied 150 translations Of English drama into Spanish. A case in point is Alfonso Sastre 's version of Langston Hughes' play Mulatto. This "version" poses questions related to the very notion of equivalence in translation and brings to the fore the questions of rewriting, or as Milan Kundera puts it, the "demon of rewriting" which affects literature and, more specifically, theatre. I shall discuss this notion of rewriting in relation to the concept of adaptation and translation, always in the context of foreign theatre texts presented in a different culture and language. The way this process of rewriting is undertaken and the "methods" used by certain playwrights when rewriting a play will also be discussed. The status of the original text and other translated texts will also contribute to clarify the way rewriting takes places and the extent to which this way of importing plays may affect the reception of certain playwrights in the Spanish theatrical system.Koiné. Annali della Scuola Superiore per Interpreti e Traduttori San Pellegrino II, 1-2 : 283-289 (1992)202020201992info:eu-repo/semantics/articleapplication/pdfapplication/pdfhttp://hdl.handle.net/10810/47781reponame:Addi. Archivo Digital para la Docencia y la Investigacióninstname:Universidad del País VascoInglésinfo:eu-repo/semantics/openAccessoai:addi.ehu.eus:10810/477812026-06-18T09:23:17Z
dc.title.none.fl_str_mv Rewriting for the Spanish Stage
title Rewriting for the Spanish Stage
spellingShingle Rewriting for the Spanish Stage
Merino Álvarez, Raquel
theatre translation
Translation and rewriting
Langston Hugues
Mulatto
title_short Rewriting for the Spanish Stage
title_full Rewriting for the Spanish Stage
title_fullStr Rewriting for the Spanish Stage
title_full_unstemmed Rewriting for the Spanish Stage
title_sort Rewriting for the Spanish Stage
dc.creator.none.fl_str_mv Merino Álvarez, Raquel
author Merino Álvarez, Raquel
author_facet Merino Álvarez, Raquel
author_role author
dc.subject.none.fl_str_mv theatre translation
Translation and rewriting
Langston Hugues
Mulatto
topic theatre translation
Translation and rewriting
Langston Hugues
Mulatto
description [EN] In the course of my research on translations of English drama into Spanish, I have dealt with a variety of target texts considered, and many times labelled, "translations" or "versions". In most cases the translator presents a play originally written in English to the Spanish audiences in their own language. There are sorne translators who are allegedly faithful to the original, some others who claim they have "adapted" the play to a stage or audience, and there is a small group of so called translators who rewrite the original and make the play their own. The purpose of this paper is to discuss those instances of rewriting in the light of the results of a large scale research work, just completed this year, in which I have studied 150 translations Of English drama into Spanish. A case in point is Alfonso Sastre 's version of Langston Hughes' play Mulatto. This "version" poses questions related to the very notion of equivalence in translation and brings to the fore the questions of rewriting, or as Milan Kundera puts it, the "demon of rewriting" which affects literature and, more specifically, theatre. I shall discuss this notion of rewriting in relation to the concept of adaptation and translation, always in the context of foreign theatre texts presented in a different culture and language. The way this process of rewriting is undertaken and the "methods" used by certain playwrights when rewriting a play will also be discussed. The status of the original text and other translated texts will also contribute to clarify the way rewriting takes places and the extent to which this way of importing plays may affect the reception of certain playwrights in the Spanish theatrical system.
publishDate 1992
dc.date.none.fl_str_mv 1992
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dc.identifier.none.fl_str_mv http://hdl.handle.net/10810/47781
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dc.language.none.fl_str_mv Inglés
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dc.publisher.none.fl_str_mv Koiné. Annali della Scuola Superiore per Interpreti e Traduttori San Pellegrino II, 1-2 : 283-289 (1992)
publisher.none.fl_str_mv Koiné. Annali della Scuola Superiore per Interpreti e Traduttori San Pellegrino II, 1-2 : 283-289 (1992)
dc.source.none.fl_str_mv reponame:Addi. Archivo Digital para la Docencia y la Investigación
instname:Universidad del País Vasco
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collection Addi. Archivo Digital para la Docencia y la Investigación
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