NOTE BIBLIOGRAFIA

Sommario Culture 2000

NOTE  

 

1 See: Bassnett, S. "The Translation Turn in Cultural Studies" in Bassnett and Lefevere (1998b), in which Susan Bassnett indicates the areas where it would be fruitful to have a greater co-operation between practitioners of Translation Studies and Cultural Studies. The list includes teaching: "there needs to be a pooling of resources to extend research into intercultural training and the implication of such training in today's world" (p. 138).

2 'Free' and 'literal' (Catford: 1965).

3 The history of the term 'equivalence' to define translation is illustrated in Broeck, R. Van, "The Concept of Equivalence", in Hermans, Th. (1985b).

4 For reason of limited space we do not look at the reception of the play in England and America.

5 The origins of the Music Hall are difficult to trace since the genre has been in existence since the 16th century. In the 19th century, however, large designated rooms were created for Music Hall, thus replacing those farms or eating-houses where it had hitherto been taking place. By the 1970s, social clubs (see following notes) had replaced most of the Music Halls. See: Davison, P. (1986), Drama and the Popular Tradition in England, London, MacMillan. In particular the chapter: 'The Music Hall Tradition'.

6 Or 'social club'. These clubs were often very large, with a bar and a social room where people met to play bingo. On Saturday nights, there were entertainment events featuring comedians and, sometimes, television stars. See also Griffiths, T. (1986), 'Narrare, Descrivere, Criticare' in: Teatro dell'Elfo (1986), Comedians/Comici: Trevor Griffiths e il teatro inglese contemporaneo. Adattamenti e riscritture, Milano, Clued). It includes a series of the lectures held at the 'Elfo' theatre in Milan (1986), by theatre practitioners, university professors and other people involved in the production of the staged version of Comedians. The lectures were attended by Trevor Griffiths.

7 For both the English and the 'face to face' translation we will refer to this edition.

8 (Challenor): "Don't cry to be deep. Keep it simple. I'm not looking for philosophers, I'm looking for comics. I'm looking for someone who sees what people want and knows how to give it them" (ibid., 82).

9 In England, during the mid Seventies, the Labour Party was shaken by an identity crisis: the changes that had been predicted didn't occur. The leadership of the Labour Party failed to keep the working class united, to lead the Party to an election victory and, later, to prevent the Conservatives from retaining power. See: Bassnett, S. (1987: 13-55).

10 See Ettore Capriolo , "In altri termini" in: Teatro dell'Elfo (1986), Comedians/Comici, cit., 49-53. Here Capriolo defines Comedians as virtually 'untranslatable'. Despite that he recognised the necessity, felt by the theatre company, of rewriting the play completely and of recontextualizing some situations so as to give them an Italian background, he seems bound to the idea of the original work's unique integrity, viewed as an aesthetic artefact whose meaning is fixed by the intention of the author.

11 The Italian 'cabaret' was seen (by the theatre company) as the Italian counterpart for that type of comedy presented in Comedians: the place is usually a small club. The jokes and gags performed by comedians of cabaret are often based on improvisations, recent events (taken from the press, TV etc), in other words, events that might be close to the life of their mixed audience.

12 See Teatro dell'Elfo (1986). In particular the chapter 'Gli interpreti sui personaggi' (pp.77-109) in which the actors/playing Comedians talk about their characters and how they "discover their characters inside themselves".

13 There are 38 footnotes added to the translation.

14 I am here applying Freud's interpretation of jokes, as developed in: Freud, S. (1905), Jokes and Their Relation to the Unconscious, London, Hogarth Press. See also: Wright, E. (1989), Psychoanalytic Criticism. Theory in Practice, London and New York, Routledge, pp. 137-38, in which the Freudian interpretation of jokes is applied to literary criticism.

15 See the interview with the Italian actor playing Sammy/McBrain in the Italian production, as included in: Teatro dell'Elfo (1986), p. 87. Here the actor talks about his personal experience as an immigrant from the South of Italy who moved to Milan, and how he explored this situation to create his 'fictional' character.

16 See the interview with the Italian actor playing Sammy/McBrain in the Italian production, as included in: Teatro dell'Elfo (1986), p. 87. Here the actor talks about his personal experience as an immigrant from the South of Italy who moved to Milan, and how he explored this situation to create his 'fictional' character.

17 According to the MAPS of Holmes, here we can say that some of the ST's textual features (e.g. phonetics) occupy a low position within the hierarchical order of priorities established by the translator in the TT.

 

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Bibliography

 

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- , LEFEVERE, A. (1998a), "Where Are We in Translation Studies?"in S. BASSNETT, A. LEFEVERE (eds) (1998b), pp.1-11.

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HATIM, B. and MASON, I. (1990), Discourse and the Translator, London and N.Y., Longman.

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OPERE DI RIFERIMENTO PER IL CASE STUDY:.c1.OPERE DI RIFERIMENTO PER IL CASE STUDY:;

COMEDIANS, DI TREVOR GRIFFITHS.c1.COMEDIANS, DI TREVOR GRIFFITHS;

 

BASSNETT, S. (1978), "Translating Spatial Poetry: An Examination of Theatre Texts in Performance" in HOLMES J. S., LAMBERT J., VAN DEN BROECK R. (eds) (1978), pp. 161-76.

- (1985), "Ways through the Labyrinth: Strategies and Methods for Translating Theatre Texts", in HERMANS, Th. (ed.) (1985b).

- (1987), 'Trevor Griffiths dal teatro alla televisione', in: Metamorfosi del testo drammatico, Roma, Carducci Editore, pp. 13-55.

BERTINETTI, P. (1986), "Griffiths e il teatro inglese", in TEATRO DELL'ELFO, Comedians/Comici Milano, Clued, pp. 17-25.

CAPRIOLO, E. (1986), "In altri termini", in TEATRO DELL'ELFO, Comedians/Comici, Milano, Clued, pp. 49-53.

DAVISON, P. (1986), Drama and the Popular Tradition in England, London, McMillan.

DE CAPITANI, E. (1986), "Il mondo come parliamo noi", in TEATRO DELL'ELFO, Comedians/Comici Milano, Clued, pp. 57-67.

FREUD, S. (1905), Jokes and their Relation to the Unconscious, London, Hogarth Press.

GRIFFITHS, T. (1976), Comedians, London, Faber and Faber.

GRIFFITHS, T. (1988), Trevor Griffiths. Comedians. Testo inglese a fronte, Milano, Angelo Guerini e Associati. It includes the original play by Trevor Griffiths and the Italian 'face to face' translation to which we are referring in the Analysis.

ROSE, M. (1986), "Comedians: comicità e politica" in TEATRO DELL'ELFO, Comedians/Comici, Milano, Clued, pp.25-31.

SALVATORES, G. (1986), "Comici contro. Tra teatro e cabaret" in TEATRO DELL'ELFO, Comedians/Comici, Milano, Clued, pp. 67-75.

TEATRO DELL'ELFO, (1986), Comedians/Comici, Milano, Clued. It includes the staged version of Comedians, interviews with the actors, discussions on the staging and production, and a series of essays listed in this bibliography.

VELTRUSKY, J. (1977), Drama as Literature, Lisse, Peter de Ridder Press.

ZUBER, O. (ed.) (1980), The Languages of Theatre. Problems in the Translation and Transposition of Drama, Oxford, Pergamon Press.

 

.c1.;

.c1.;

INTERVISTE CON TREVOR GRIFFITHS.c1.INTERVISTE CON TREVOR GRIFFITHS;

 

"Interview with Trevor Griffiths", (by Merete Bates), The Guardian, November 6, 1970.

"Attacking from the Inside" (by Robert Hayman), The Times, December 15, 1973.

"Joking Apart" (by Peter Dixon), The Guardian, February 19, 1975.

"Narrare, descrivere e criticare" (by M. Rose made during a conference at the University of Milan), in TEATRO DELL'ELFO, Comedians/Comici, Milano, Clued, 1986.

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