Theater text translation involves more than simply shifting meaning from one language to the other; it involves also creating new ones within a specific cultural setting.
Bassnett notes that this process involves identifying which structural features make a theatre text performable and translating them to the target language, even if major linguistic modifications occur. She advises working closely with directors and actors as part of this effort.
Cultural Representation
Theater text translation is an intricate process requiring many codes. Translators must understand both the cultural background in which a play was written as well as non-linguistic aspects of performance; for instance, poetic drama’s metrical features require special care in order to remain faithful to its original text while naturalistic dialogue requires special care when reproducing speech rhythms – these factors must all come together seamlessly in order to produce an understandable and natural-sounding translation.
Theater translation may seem to be an independent study area, yet it cannot escape the influences of other fields like literary and cultural studies. Such influences can either be positive or negative: for instance, cultural representation studies have revealed that translators may be exposed to Eurocentrism, imperialism, biological racism fascism and humanism as ideological influences on their texts; others could arise internally through personal presuppositions and beliefs regarding culture.
Though theatrical translation is still relatively young, much has already been said about its role in both theatre practice and academic settings. A key debate revolves around whether theatre translation should be considered literary translation or adaptation for stage adaptation – something which has arisen due to different attitudes among theatre translators compared with literary scholars.
Some scholars have previously argued that translation for the stage should be treated like literary work and be faithful to its source text, while others suggest translation should focus on performability and be an interactive process; those advocating this latter viewpoint aim at making text understandable to audiences and make changes as needed for optimal viewing experience.
Theatre translation is an intricate process requiring creativity and improvisation, as well as years of training to find an equilibrium between these elements. However, with proper guidance it is possible to achieve success; students should participate in different productions across cultures in order to develop the necessary skills and confidence required in this grueling profession.
Adaptation
Adaptation is at the heart of theatrical translation. This intricate process involves adapting literary texts into stage-oriented dramatic productions is multifaceted and includes many stakeholders such as translators serving as actors, directors, or other theatre crew members with individual ideas and styles; translation also changes dynamically during performance to meet global production ideas such as cutting down character count in a theatre show. A translator may need to alter certain aspects of an original play to ensure relevancy with current audiences or adapt it for an alternative production context, for instance reducing character count in a production setting.
Theatre translation offers an ideal medium for studying the dynamics and process involved in adapting written texts into theatrical performances, as well as their culturally and emotionally embedded nature. This is particularly pertinent to drama productions where language idioms may more directly resonate with an audience or culture than they would in literary works such as novels or short stories.
One of the greatest difficulties associated with theatre translation is dealing with its ambiguous terminology and end product. Scholars typically distinguish among „translation,” „adaptation,” and „recreation” concepts; however, each has different meanings in professional and academic environments and may be interpreted differently by various groups.
Performability has long been discussed within theatre translation studies. Scholars have explored its meaning from multiple angles, from what it means for a translation to be „readable” on paper to investigating the effects of similar performances of translated drama texts on their reception (Espasa 2001).
Another element of the performability of a dramatic translation lies in its adaptability through writing, rehearsal and performance stages. A translation may need to be altered during rehearsals in order to improve its readability for actors or adjust it according to director preferences or time constraints; this could involve changing words’ meanings or cutting fragments/scenes altogether if necessary; cutting lines so as to match up with original language meters and set performance length requirements; or altering lines so they correspond more closely with original language meters or to suit performance needs.
Performance
Translating for theater involves many complex processes that go far beyond simply producing word-for-word translations of scripts, including their incorporation into the overall vision for theatrical productions. A translator must adapt dramatic texts so as to fit seamlessly into scenes or acts while taking into account nonverbal theatrical elements like staging and costumes.
Performance is often considered one of the essential ingredients to a successful theatre translation, which has led some scholars to define performability specifically. Patrice Pavis identified four problems unique to theatre translation: (1) intersecting situations of enunciation; (2) concretizations of text; (3) conditions for reception of translation and (4) mise en scene of translation (Pavis 1989).
Performance refers to the concept that translated theatrical texts are only fully realized when presented on stage, yet not everyone shares this interpretation of performability in theater translation. Some scholars, including Susan Bassnett, have raised objections against its application by translation scholars as a justification for literal translation of original plays or for substantial changes such as cuts or additions in text translation.
Bassnett asserted that an effective theatre translator should focus on both cultural aspects and textual complexity to achieve successful performances. She stressed the role of target cultures and conventions when translating plays for performance purposes. Furthermore, she examined theatre semiotics approaches as means of distinguishing gestural languages present in drama texts that cannot be done via literary analysis alone.
Nikolarea has illustrated the theoretical tension that has arisen since the 1980s between notions of performance and readability in theater translation, by juxtaposing two authors – theatre theorist Patrice Pavis and translator studies scholar Susan Bassnett – against each other. She noted that this intermingling occurs mainly because intercultural communication involves various processes and variables that impact not only its production but also distribution to and reception by an array of target publics.
Translation Technology
Translators play an integral role in theatrical production processes. Their job requires more than simply translating a play into another language – they also must ensure that actors can perform it as intended by understanding theater conventions and practices such as staging, lighting and costume design in order to translate texts effectively; plus they must grasp cultural relevance within which plays are produced.
Translating theater texts presents unique challenges, particularly given that many production codes rely on audience reaction (for instance laughter) during rehearsals or performances; this can cause unexpected shifts in translation during rehearsals or performances if it wasn’t designed specifically to do so; however, accessing performance recordings provides unique research opportunities in theater translation.
One of the key challenges of theater text translation lies in making the transition from academic to professional practice and training in new methodologies. Many academic publications on theatre translation, and certain university courses, tend to focus more on theoretical aspects than practical applications; this may create the impression that theatre translation is something done only behind library doors.
Educators and researchers are striving hard to change this perception, creating new models of theatre translation which emphasize equality, diversity, inclusion and intercultural empathy as their central ideals. Working side-by-side translators and actors is key in this effort, while translation technology that facilitates this is an integral component.
Catherine Coray at New York University’s Lark and formerly HotInk has been at the forefront of this effort, along with Derek Goldman of Georgetown University and their Laboratory for Global Performance. Additionally, Patrizia Acerra’s International Voices project and Neil Blackadder’s Theater in Translation network also serve as beacons in this crucial field.
