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Greek Theatre Translation in the Whirlwind of Politics and Culture ARISTOTLE UNIVERSITY OF THESSALONIKI Trans-Staging: Greek Theatre Translation in the Whirlwind of Politics and Culture by Peny Fylaktaki Thesis submitted to the School of English Department of Translation and Cultural Studies For the degree of Doctor of Philosophy Volume A 2008 Table of Contents Chapter One: Introduction 1.1 Translation and the Language of Drama................................................................5 1.2 Translation Theory Behind the Curtain…………………………………………..9 1.3 Theatre translation in Greece: the case study of Waiting for Godot…………....13 1.4 Structure of the Doctoral Thesis………………………………………………...19 Chapter Two: Theatre Translation in Greece 2.1 Embedding Drama Translation in the Socio-historical Background…………….21 2.2 The Forces of the Greek Theatre Market………………………………………...27 2.3 Facts and Figures………………………………………………………………....35 2.4 Interviews: Inside Information on Drama Translation…………………………...45 Chapter Three: Godot under the microscope – a case study 3.1 Highlighting the Peculiarities of Godot’s text…………………………………...52 3.1.1 Highlighting Dramatic Substance…………………………………………....53 3.1.2 The Other Side of the Coin: Beckett as Director…………………………….56 3.1.3 Dangerous Ground…………………………………………………………...58 3.2 The ‘Woolly’ Concept of Performability………………………………………...62 3.2.1 Patrice Pavis………………………………………………………………….63 3.2.2. Susan Bassnett……………………………………………………………….65 Chapter Four: Godot x 8 4.1 From theory to practice…………………………………………………………..70 4.1.1 Variety of Registers…………………………………………………………..74 4.1.2 Elements of Humour………………………………………………………….78 4.1.3 Censorship…………………………………………………………………….80 4.1.4 Names………………………………………………………………………....84 2 4.1.5 Sound in Godot…………………………………………………………….. 88 4.2 Godot’s Structure……………………………………………………………… 100 4.3 Allusions………………………………………………………………………. 107 4.4 Bilingualism…………………………………………………………………… 111 4.5 Performance…………………………………………………………………… 116 4.6 Lucky’s speech................................................................................................... 117 Chapter Five: The Final Countdown 5.1 The Idiosyncratic Nature of Theatre Language…………………………………127 5.2 Social Encounters of the Third Kind……………………………………………128 5.3 Translation: a never-ending process…………………………………………….134 5.4 Future Perspectives……………………………………………………………...136 Bibliography………………………………………………………………………..141 Appendices Appendix A…………………………………………………………………………150 Appendix B………………………………………………………………………….158 Appendix C………………………………………………………………………….172 3 Acknowledgements Many people have contributed to the completion of the present thesis in different ways. I would like to take here the opportunity and thank those who have guided, encouraged and supported me throughout its making. I am grateful to my supervising committee who shared with me their time and wisdom. First of all, I would like to thank Prof. Savvas Patsalidis for decisively contributing in my work, not only as an academic with his profound knowledge of the subject, but above all as a man of the theatre with his deep understanding of the workings of drama against social discourse. His immersion into the world of contemporary Greek theatre has been for me an invaluable source of information as well as inspiration. To Assistant Professor Nikos Kontos I owe my gratitude for being the first one who believed in me and prompted me to get involved into a practical approach that eventually evolved into my Appendix C, which is definitely a part the present thesis can boast about. My deepest gratitude and thanks to Professor Karin Lagopoulou for helping me overcome my fear of Semiotics and clearing the foggiest parts of theory for me so that they could best serve the purposes of the present thesis. To all three I owe nothing less but this thesis itself and my more enlighteted self. A big part of my thesis would not have been possible without the obsessive perseverance of Dafni Moustaklidou for tracing, discovering, verifying and double- checking all data and entries through a labyrinth of old archives, endless phonecalls to living sources and harassment of all the people she knew for retrieving the correct information. Dafni, without your maniac data hunting, this thesis would be incomplete. Special thanks to Eleni Poimenidou, Evgenia Samara, Bella Spiropoulou, Dimitris Piatas, Alexandra Papathanasopoulou, Kostis Kapelonis, Stelios Tzolopoulos, Kostis Kapelonis and Alexandros Lagopoulos for kindly taking an active part in this research with the information they provided. Thanks also to Chryssoula Papiopoulou, Tassos Paschalis, Artemis Moustaklidou, Efi Kapetanaki and Olga Lazaridi for always helping me out every time I stormed into their office in a state of panic. My final thanks I reserve for my family. I wish to thank my parents and sister for their endless love and support in times of crisis, and above all Dimitris for whom I could finish yet another thesis and to whom I dedicate the present one. 4 Chapter One: Introduction Translating is staging a play in another language Hans Sahl, 1965 1.1 Translation and the Language of Drama Numerous attempts have been made to define translation since the 1950s, when the area of Translation Studies firmly asserted its ground as an autonomous field of research rather than a shadowy branch of Applied Linguistics. Still the term seems to evade definition. Hans Sahl used the metaphor of staging a performance to provide a vivid description of the translation process, because of the complexity and multiplicity of factors operating in both cases in a simultaneous, yet supplementary fashion. In theatre, elements of the dramatic text1 converse with aspects of performance and are filtered through a process initiated by the director, further developed by the set designer and music composer and –literally– incorporated by the actors who present the final product in front of the audience of their times. Likewise in translation, a certain source text2 is filtered through the translator’s language skills and knowledge of the cultural idiosyncrasies of the two languages to provide a translation product that addresses the reading audience of the target culture. What Sahl may have unwittingly done is evoke questions on the issue of drama translation. If translating is like staging a play, what happens when translating a play to be staged?3 Does the number of factors and the degree of complexity involved in these two similar processes double when they cooperate in the translation of a play? 1 For the purposes of the present thesis, a definition of the dramatic text is necessary. By dramatic text, it is meant the written text which reads as script. This is different from the performance text which is presented to the audience as the combined result of verbal language, body action, prosodic features, and stage elements (set design, props, lights, costumes and acting style). Their actual difference, as it will be pointed out later, is that elements of performance are implicit in the former, while in the latter they are realised in their stage representation. 2 I shall henceforth refer to it as ST. 3 The present thesis focuses solely on translations which have been staged. There is a long, on-going controversy between translating for the page and translating for the stage, which is beyond the scope of the present survey. Among contemporary theoreticians, Phyllis Zatlin disagrees with Wechsler’s view that “the translator is a performer without a stage” (1998:7) and advocates that theatre translation should be intended precisely for performance: “if a play translation is nothing but ink on a page it is not theatre (performance text); if it is published and read it may be considered as drama (dramatic text). She goes on to quote Marion Peter Holt, the foremost translator of Spanish literature in the United 5 Although it may sound daunting at first, the answer is yes. Dimitris Maronitis observes that “if translation in its literal sense (mere transposition of a foreign text which is meant to be presented on stage) transfers a text from one language to another […] this primary transfer is doubled and at the same time modified (it is actually re- translated) when the translated text is led to its stage performance” (2005: 73A45).4 Drama translation involves the linguistic competency and bi-cultural awareness required in all other translation genres along with knowledge of the economy of dramatic dialogue and its function on stage. We will take the translator’s linguistic competence for granted in the present thesis, but a clarification of the term ‘culture’ is necessary. For the purposes of the present thesis, culture is understood not in the narrow sense of high learning or intellectual advancement, but as “firstly a totality of knowledge, proficiency and perception; secondly, its immediate connection with behaviour (or action) and events, and thirdly, its dependence on norms, whether those of social behaviour or those accepted in language usage” (Snell Hornby, Translation Studies: An Integrated Approach 40). Cultural awareness is essential in translation as certain translation problems are not inherent in the ST itself; they depend on the position this text assumes in the source and target culture respectively5 and its degree of reception by a target audience who have assimilated the culture in question “with the constellation of knowledge, judgment and perception they have developed from it” (Snell-Hornby 42). In the case of drama translation, the translator should also be familiar with the theatre politics of the target culture, the position of dramatic
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