Théâtre T04 (Littérature Française) (French Edition)
Contents:
Intercultural and Post-Modern Theatre" with four problems peculiar to translation for the stage: Dealing with the first problem, he maintains that there are two situations of enunciation: Pavis tends to believe that the translator and his or her translation are both situated at the intersection of sets of enunciation of differing degrees, a situation that is a mixture of both source and target cultures SCs and TCs. For him, the translated text always consists partly of source text and partly of target text and target culture because any transfer involves the multiple dimensions of the source text ST adapted to the TL and TC; as well, it is the written ST that the translator usually uses as a point of departure.
Nevertheless, continues Pavis, the translator knows that the translation cannot preserve the original situation because it is intended for a future situation of enunciation, a situation the translator may not be familiar with at all. It is only when the translated text is staged for the target audience and culture that the text is surrounded by a situation of enunciation belonging exclusively to the TC.
Thus, the translation, to varying degrees, occurs at the intersection of the situations of enunciation. Furthermore, Pavis holds that the theater translation is a hermeneutic act, since its main purpose is to pull the ST towards the TL and TC, separating it from its source and origin , Pavis, discussing the series of concretizations—the second problem peculiar to translation for the stage—tries to reconstruct the transformations of the dramatic text in the course of successive concretizations as follows:.
Once T3 and T4 are linked, then the dramatic text is comprehensible only in the context of its enunciation.
Same Series
To clarify the functioning of this theatrical economy, Pavis gives the following example:. Hence, for Pavis, it is the economy of the dramatic text and its translation for the stage that allows the actor to supplement the text by extralingual i. At this point, it would be interesting to compare the way Bassnett and Pavis use the deictic system deixis. As noted earlier, in her "Ways through the Labyrinth: Strategies and Methods for Translating Theatre Texts," Bassnett calls for an inquiry into the deictic units in the text and an analysis of their functions in both SL and TL texts as the best method for comparing the ST and the target text TT a, Nevertheless, she perceives the deictic units more as linguistic structures of the text itself than as gestural patterning.
Conversely, Pavis views the entire deictic system primarily as an encoded gestural patterning in the written text, a position that was held by Susan Bassnett herself in the early stages of her career as a theoretician of theater translation. For Bassnett's earlier position, see Bassnett , ; , ; and b, In "Problems of Translation for the Stage: Intercultural and Post-Modern Theatre," after presenting his hypothesis of the series of concretizations To, T, T1, T2, T3 and T4 , Pavis tries to show how it is related to an exchange between the spoken text and the speaking body, as well as to the hermeneutic act of intercultural exchange.
Most interesting is the section, "Intercultural Translation," in which Pavis gives a semiotic definition of culture , , presents two contemporary opposing approaches to the translation of culture and, finally, introduces his own view. Presenting the two conflicting approaches, he states that the first one is to try too hard to maintain the SC in the translation in order to accentuate the difference between the SC and the TC.
The result of this effort is the creation of an incomprehensible and unreadable text, which is unacceptable to the TC. On the other hand, says Pavis, the second approach is to try to smooth out differences to the point where one cannot comprehend the origin of the translated text.
Dissatisfied with these approaches, he offers his own solution: Finally, although he recognizes the diversity of ethnic and national origins, Pavis argues for a gestural universality and a universality of culture. In this case, Pavis assures us that gesture is not limited to a social function a social gestus but rather "a universal encounter among actors of different cultures" , In this phenomenon of intergestural and intercultural translation, Pavis sees culture intervening at every level of social life, "in all the nooks and crannies of the text" , 42 , and arrives at the following mythic conception of culture and translation:.
Translation is this undiscoverable mythic text attempting to take account of the source text—all the while with the awareness that such a text exists only with reference to a source-text-to-be-translated. Added to this disturbing circularity is the fact that theater translation is never where one expects it to be: Bassnett holds the opposite thesis as far as theater translation and culture are concerned. The Case Against Performability" a , Bassnett refutes the encoded spatial or gestural dimension of the language of a theater text, and claims that any such notion is problematic for the interlingual translator because it makes his task "superhuman" a, Her main argument against the notion of the gestic text is that the theater translator is expected to translate a SL text, which is incomplete and which a priori once contained a concealed gestic text, into a TL text, which should also contain a concealed gestural undertext.
To emphasize her position, she states that if this concept is taken seriously, then the assumption is that during the translation process it is the translator's responsibility to decode the gestic text while he sits at a desk and imagines the performance dimension; and, in Bassnet's opinion, this situation does not make any sense at all! It is in Bassnett's "The Case Against Performability," however, that the theoretical polarization between Bassnett's and Pavis's positions can be seen more clearly. Moreover, she concludes that "[Pavis's] interlingual translator is still left with the task of transforming unrealized text A into unrealized text B and the assumption here is that the task at hand is somehow of a lower status than that of a person who effects the transposition of written text into performance" a, Then Bassnett raises three arguments to refute any notion of performability.
Her first argument is that performability has been used by English translators, directors and impresarios as justification for their various linguistic strategies—first, to excuse the practice of handing over a supposedly literal translation to a monolingual playwright; second, to justify substantial variations in the TL text, including cuts and additions see also Bassnett , 77 ; third, to describe the "supposedly" existing gestural text within the written; and, last but not least, to describe what may be called a translator's ad hoc decision of what constitutes a speakable text for performers.
Her second argument against performability comes from a different angle: Instead, she holds that the starting point of any investigation must be the in constant the variables, or the particulars. According to that school of thought, Bassnett states that "the written text ceases to appear as the quintessential yet incomplete component of theater, and may be perceived rather as an entity in its own right that has a particular function at a given point in the development of culturally individualistic theatres" a, To validate her argument, Bassnett summarizes Susan Melrose's two arguments against the notion of universality in the theater text.
Melrose's first argument against the idea of a universal gestus is that gestus can only be culture-bound. Then she attacks what she calls "the neo-Platonic cringe" of certain theater people who yearn after "oneness" and its hypothetical access to "truth" and "sincerity" or "deep meaning" or "inscribed undertext. Agreeing wholeheartedly with Melrose's arguments, Bassnett concludes that performability is "a term without credibility" or "seen as nothing more than a liberal humanist illusion" , 77 and a, , respectively.
In her third and last argument against performability , Bassnett holds that the very core of this notion derives from the naturalist theater and the effort of the interlingual translator to escape the domineering presence of both the playwright and the performance text. In her opinion, it was the naturalist drama that imposed the idea of the scripted text, or the performance text, which both actors and directors have to study carefully and reproduce with some fidelity.
It was also in the naturalist theater that the role of the playwright increased tremendously, and as a direct result, the idea of fidelity was established and imposed on theater texts and all participants in a performance. According to Bassnett, the implications of the increasing power of the playwright were significant for the interlingual translator, too; if the performers were bound in a servant-master relationship to the written text, "so also should translators be" a, Finally, she concludes that the notion of performability was invented by translators in order to escape from that servile relationship and to exercise greater liberties with the written text than naturalist conventions allowed.
In the last but most condensed paragraph of her article, "The Case Against Performability," Bassnett, having refuted the ideas of both undertext and performability , goes a step further by inviting scholars to limit their investigations to two main avenues of study only: On the one hand, having started as a theater semiotician, Patrice Pavis has only recently started dealing with issues related to theater translation.
He has directed all his efforts towards, and has focused on, an understanding of the process of translating, staging and receiving a theater text. He also believes in the universals of gestures a gestural universality as well as in a universalization of culture or, as he puts it, in the "universalisation of a notion of culture On the other hand, and unlike Pavis, Bassnett started within the field of translation studies and soon became a proponent of the "Manipulation School.
Recently, Bassnett has also adopted the position of theater anthropology, which supports the idea that each culture is unique, and for this reason there are different performance conventions in different cultures. Whereas Pavis believes that cultural differences can be overcome by the transcendental presence of universals , Bassnett holds that cultural differences are accentuated by the presence of particulars.
Instead of the universality of gestures and cultures, she firmly believes in the particularity of each culture and, therefore, in the particularity of gestures within cultures. Nonetheless, the theoretical polarization of performability and readability is not very convincing when examining the extent to which postulates such as performability and readability can be applied and compared to the historical functioning of actual translations and theatrical performances. In her dissertation a and in one of her published articles b , Ekaterini Nikolarea has demonstrated that when a theatrical play like Sophocles" Oedipus the King , 7 is examined as a translated, published and produced playtext, it defies any theoretical polarization of performability and readability ; and she proves that this polarization is a reductionist illusion.
Examination shows that, in practice, there are no precise divisions between a performance-oriented translation and a reader-oriented translation, but rather there exists a blurring of borderlines. First, intercultural communication always depends on varied and complex processes, which influence not only the production of a theater translation but also its distribution and reception by a multifaceted target public. In order to determine what is involved in these processes and to propose a sound working hypothesis for theater translation Nikolarea , , Nikolarea took an interdisciplinary approach that went beyond a strict "investigation into the linguistic structuring of extant theater texts" or a limited "historiography of theatre translation" Bassnett a, ; she also included extratextual, paratextual and peritextual evidence Nikolarea a, The second reason for the blurring of the borders between the theoretical constructs of performability and readability points to the fact that these two extreme positions, no matter how different they are, seem to share, in principle, the weakness of all prescriptive approaches in translation studies.
This common characteristic or fallacy, as it may be called , becomes clear whenever postulates such as performability and readability are either applied or compared to actual translations and theatrical performances and their historical functioning. Aston, Elaine and George Savona. A Semiotics of Text and Performance. London and New York: An Examination of Theatre Texts in Performance.
I ask all souls for a prayer. The Check is not in the Mail-Banking in Brazil. The implications of this systematic analysis and codification of the sign system are of great importance for the language in which a theater text is written, for it indicates that language as such is only one sign in the network of auditive and visual signs that unfold in time and space. In the s it seemed that the theories of theater translation were polarized between two extremes: The Architecture of Chaos. Furthermore, Pavis holds that the theater translation is a hermeneutic act, since its main purpose is to pull the ST towards the TL and TC, separating it from its source and origin , Switching word order in MS Word.
Strategies and Methods for Translating Theatre Texts. Croom Helm; New York: Trends and Tendencies in Theatre Analysis. The Case Against Performability. Translation, History and Culture. Fischer-Lichte, Erika, et al. The Dramatic Touch of Difference: Theatre, Own and Foreign. An Introduction to the Semiology of the Art of the Spectacle. Translating for the Theatre: Essays on the Occasion of his Seventieth Birthday, 11 October L Matejka and I R Titunik. A Communicative Model for Theatre Translation: Versions of Oedipus the King in English.
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