Passage des trois sœurs (French Edition)

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By pig I mean my husband. Without getting worked up. The Scots text is less reticent, though it dispenses with the livestock: As if wan sex-mad gett in the family wisnae enough. His faither cannae even see a bint oan the telly athoot gettin a hard-oan! Again, the German falls between the two: Mit Schwein meine ich meinen Alten. By pig I mean my old man.

If he sees a cute girl on television, he freaks out, the old goat! From these examples, we get some idea of how translations are defined by linguistic and cultural expectations and capabilities.

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This seems also to be true of the German text, while the Scots text seems, in general, to be the most liberal in this regard. Scatology causes few problems, but the relatively small number of blasphemies used by the belles-soeurs finds no direct equivalent in any translation.

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The English translation, for example, has great difficulty representing class distinctions markedly and consistently, or in translating the profanity of the original convincingly. It is perhaps more surprising that the German translation, Schwesterherzchen , although it renders the non-blasphemous profanity in a manner somewhat closer to the original than does the English, takes little advantage of the difference between dialect and Hochdeutsch.

Many Germans use regionalized Hochdeutsch in public and local dialect with friends and family. There is, accordingly, a long tradition of German drama partly or wholly in dialect, particularly from the era of Naturalism on: Kroetz, for example, became a controversial figure because his plays dealt with such themes as incest and abortion, but not because of his use of Bavarian dialect Plocher, Schwesterherzchen At any rate, Plocher continues, joual has in the meantime established itself as a literary language as well and therefore lost its piquancy and authenticity Schwesterherzchen The domestic remainder here would seem to be marked by the cultural assumption that since dialect is not politically provocative in the target culture, it does not bear translation.

In fact, in order to emphasize the socially critical themes of the oppression of women and the proletariat, the production released an explicitly Brechtian domestic remainder, a form familiar to its audience but not necessarily present in the translated text as published. Schwesterherzchen enjoyed two weeks of sold-out shows and finally closed only because further performances could not be scheduled Both the class distinctions and much of the profanity of the original, then, are apparently most clearly represented by the text of The Guid-Sisters , which cleverly exploits the tension between Scots and English.

Incidentally, because the play is largely comprehensible to a speaker of English, the translation does double duty: This trade-off encapsulates the dilemma of translation: As a result, we might conclude that the domestic remainders in all three cases are dictated by the necessity of establishing a relationship to literary canonicity in the contexts of different target cultures.

I am grateful to the anonymous readers and to the editor for their revision suggestions. Lecercle and Mesguich both derive this concept from earlier French sociological and linguistic thought, particularly the ideas of Ferdinand de Saussure via Jacques Lacan , Henri Lefebvre, and Michel Pecheux. Drama Translation in Theatre and Society , where they are held up as exemplary for their use of translation in the construction of national or cultural identity All translations from the German are my own.

Passage des trois sœurs by Helene Bassoff on Apple Books

However, Augsburg, where Schwesterherzchen was written and produced, was long a free city of the Holy Roman Empire before its absorption into arch-Catholic Bavaria in Augsburgers still consider themselves linguistically and culturally Swabians rather than Bavarians, though the city straddles the border between the two dialect regions, and the local speech shows features of both dialects. As Martin Bowman has pointed out, the flatness of standard English translations of Tremblay has often been compensated for by casting French-speaking actors in English productions: In this sense the translated script is domesticating, while the production is foreignizing.

The question of whether Scots is a dialect of English or a separate but related Germanic language is complicated by political considerations see Woodsworth The present article treats it as a separate language. This may also, however, be a result of the trend described by Jennifer Harvie: Drama Translation in Theatre and Society. Topics in Translation The Shared Voice of Michel Tremblay.

Passage des trois sœurs

Sprachrealismus im deutschen Drama der siebziger Jahre. Theatre and Cinema in Scotland and Quebec. Sociocritique de la traduction:

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