
Contents
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11.1 Plays for the page, and for the stage 11.1 Plays for the page, and for the stage
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11.1.1 Translation studies and drama 11.1.1 Translation studies and drama
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11.1.2 Translation practice and the spoken word 11.1.2 Translation practice and the spoken word
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11.2 Special qualifications 11.2 Special qualifications
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11.2.1 Target-language acceptability 11.2.1 Target-language acceptability
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11.2.2 ‘Speakability’ 11.2.2 ‘Speakability’
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11.3 Different methods, different schools 11.3 Different methods, different schools
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11.3.1 Chekhov and his English translators 11.3.1 Chekhov and his English translators
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11.3.2 ‘Adaptation’ 11.3.2 ‘Adaptation’
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11.4 Varieties of adaptive intervention 11.4 Varieties of adaptive intervention
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11.4.1 Stage humour 11.4.1 Stage humour
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11.4.2 Names 11.4.2 Names
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11.4.3 Expletives 11.4.3 Expletives
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11.5 Variable precision, varying interpretations 11.5 Variable precision, varying interpretations
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11.6 Conclusion 11.6 Conclusion
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Further reading and relevant resources Further reading and relevant resources
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11 The Translation of Drama
Get accessKevin Windle is an Associate Professor at the Australian National University, where he teaches Translation studies and Russian in the School of Lanugage Studies. He has translated numerous literary and scholarly works from various languages for Routlege-Harwood, Oxford University Press, Edinburgh University Press, and others. He contributed as a translator and editor to The Routledge Macedonian-English Dictionary (1998) and Our Unswerving Loyalty: A Documentary Survey of Relations between the Communist Party of Australia and Moscow (2008).
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Published:18 September 2012
Cite
Abstract
The translation of drama has been an important sub-field in the work of literary translators. For translating a drama, the translator must take into account the performance factor. Apart from linguistic competence, the translator should be equipped with additional qualifications for the task, and able to meet the differing criteria of the medium. One of these requires the translator to have some sense of theatre. The special qualifications also include, target-language acceptability, speakability, and adaptability. Comic scenes and the translation of verbal humour on stage have not figured prominently in translation studies to date. Personal names may be difficult for actors to pronounce with conviction, or for audiences to apprehend. The use of expletives is also an area of difficulty. The degree of attention applied to these aspects depends on their prominence in a given text, or rather, on the translator's perception of their prominence.
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