Theatrical Translation and Film Adaptation: A Practitioner's by Phyllis Zatlin

By Phyllis Zatlin

Translation and picture model of theatre have got little research. In filling that hole, this publication attracts at the reports of theatrical translators and on motion picture models of performs from a variety of nations. It additionally deals insights into such matters because the translation of bilingual performs and the alternative among subtitling and dubbing of movie.

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By Phyllis Zatlin

Translation and picture model of theatre have got little research. In filling that hole, this publication attracts at the reports of theatrical translators and on motion picture models of performs from a variety of nations. It additionally deals insights into such matters because the translation of bilingual performs and the alternative among subtitling and dubbing of movie.

Show description

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Extra resources for Theatrical Translation and Film Adaptation: A Practitioner's View (Topics in Translation)

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The latter had run for two years in Madrid, had been aired on television and made into a movie in Spain. I naively thought that the agency might be interested in handling established playwrights like Manet and Alonso de Santos if not myself, as their American translator. In April 1991, I followed up the unanswered letter with a phone call. Esther Sherman emphasized the word ‘commercial’ in our conversation. She explained that the William Morris agency deals solely with playwrights, not translators, and that for theatre often there is ‘not enough financial reward in limited territory’.

Having a writer attached to the project helps with marketing. Translators too often just serve to provide a first draft which a writer then appropriates. , theatre companies insist on commissioning a new translation for a production and, sadly, these are all too often a playwright or director’s adaptation of a so-called ‘literal translation’. ’ One might also ask what was the probability that the native Russian speaker was qualified to do any translation into English, let alone a literary one. Playwright-adaptations are not by any means confined to contemporary or unknown works, and the practice clearly has international repercussions.

One translator believes that agents in his country play a marginal role, unlike those in England and the United States. That observation, too, may raise a chuckle. ’ Among my British respondents, only Maria Delgado has an agent, and hers negotiates publications, not productions. In the United States, only Holt has an agent. In fact, he has two: one who represents the Chilean playwright Antonio Ska´rmeta and thus has secured some 20 stagings of Holt’s translation Burning Patience, and one who handles his translations of Spanish playwrights.

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