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An Analysis of Eduardo De Filippo's Theatre By University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/3666 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Translation of Dialect and Cultural Transfer: an Analysis of Eduardo De Filippo’s Theatre by Alessandra De Martino Cappuccio A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Italian University of Warwick, Department of Italian February 2010 Dedico questa tesi alla mia città e alle sue contraddizioni irrisolte. TABLE OF CONTENTS List of Illustrations……………………………………………………………… p. v Acknowledgements ………………………………………………………………p. vi Declaration ……………………………………………………………………….p. vi Abstract …………………………………………………………………………. p. vii Introduction Eduardo De Filippo: A New Style in Comedy …………...p. 1 Translating Dialect: Objectives and Methodology………..p. 5 The Neapolitan Scenario ………………………………….p. 9 A Brief Outline of Neapolitan Dialect ……………………p. 13 Chapter One Dialect and Cultural Transfer Translating Drama or Translating Theatre? ………………p. 19 Dialect Theatre and Standard Italian Theatre ……………. p. 22 Dialect Theatre under Fascism …………………………... p. 27 Dialect and Theatre in Antonio Gramsci ………………… p. 32 Dialects and Standard English in England ………………. p. 39 Translation as Cultural Transfer: The State of the Debate . p. 42 Chapter Two Translating Neapolitan Dialect: From Language to Culture Introduction ……………………………………………….p. 68 Eduardo De Filippo’s Theatre and its Language ………… p. 70 Translation of Dialect …………………………………..... p. 76 The Play ………………………………………………….. p. 78 Language and Culture in Translation: a Textual Analysis of The Local Authority by Carlo Ardito …………………………. p. 82 The Language of Dialect …………………………………. p. 92 The Language of Food …………………………………….p. 101 Performability and Text Manipulation …………………….p. 103 Conclusions ………………………………………………. p. 107 Chapter Three In Search of Cultural Transfer: a Textual Analysis of Four Translations of Filumena Marturano Introduction .……………………………………………… p. 110 Theatre and Drama ………………………………………...p. 120 Theatre Translation and ‘Performability’ ………………….p. 123 The Multiple Faces of Filumena ………………………….. p. 139 Conclusions ………………………………………………. p. 155 iii Chapter Four Characterization and Cultural Appropriation of Napoli Milionaria! Introduction ……………………………………………….p. 158 Section I Napoli milionaria! in England Peter Tinniswood’s Scouse Adaptation …………………..p. 163 Issues of Language Choices ………………………………p. 165 Translating or Adapting? ……………………………….... p. 169 Translating Neapolitan into Scouse. What is the Outcome? p.174 Section II An American Version of Napoli milionaria! Linda Alper and Beatrice Basso’s Translation …………….p. 191 Conclusions ………………………………………………..p. 203 Chapter Five Acculturating Natale in Casa Cupiello Introduction ………………………………………………..p. 207 Natale in casa Cupiello in England ………………………..p. 212 The Language of Natale in casa Cupiello …………………p. 216 The Presepio of Luca Cupiello …………………………….p. 219 From the Source Text to the Target Text: What Happens in Between? …………………………………………………..p. 224 Translation and Authorship ……………………………......p. 226 Writers Who Translate Writers …………………………….p. 231 Analyzing Ducking Out (The Coppell’s Christmas) ………p. 234 Conclusions ……………………………………………………………………….p. 258 Bibliography ……………………………………………………………………... p. 264 Illustrations ……………………………………………………………………….p. 286 iv LIST OF ILLUSTRATIONS 1. Il sindaco del Rione Sanità (from Eduardo). 2. Filumena Marturano Program (Octagon Theatre). 3. ‘A luggetella (particular of a Presepio created by the artist Vittorio Armano). 4. San Carlo Theatre in Naples (fotograph donated by Prof. Vincenzo Guerrini, Principal double bass player in the San Carlo Orchestra). 5. Eduardo De Filippo as Gennaro Jovine, 1962 (top) and Ian McKellen as Gennaro Jovine, 1991 (bottom). 6. Ducking Out (programme of Greenwich Theatre, 1982). 7. Ducking Out Playbill (Duke of York’s Theatre). 8. Ducking Out Cast. 9. Presepe Cuciniello, Taverna (from Il presepe: le collezioni del Museo di San Martino). 10. Presepe Cuciniello, Museum of San Martino, Naples (from Il presepe: le collezioni del Museo di San Martino). 11. Particular of a contemporary Presepio (created by Prof. Dino Montanino, Naples, 2007). v ACKNOWLEDGEMENTS I wish to thank a number of people whose help and support made it possible for this thesis to be completed. I warmly thank Simon Gilson for his constant availability and scrupulous comments during the writing of the thesis, and for being an encouraging and reassuring mentor. I also thank the University of Warwick for providing a bursary in support of my studies, and the Department of Italian for the financial contributions towards research trips which enriched my experience as a PhD student. I thank in particular Mrs Harpal Singh for being always ready to help with her skills in organization and administration. I also thank Jenny Burns whose contribution regarding previous versions of parts of my thesis was very valuable. In addition I thank all my colleagues in the Italian department for their kindness and appreciation and for the happy moments of relaxation spent together. A special thank you goes to Paola Toninato whose friendship has been one of the gains during my studying at Warwick and whose perceptive comments and analytical skills helped me enormously in the development of my arguments. My thanks go also to William Pine-Coffin whose knowledge of Italian literature and theatre and whose promptness in ordering books whenever they were not available revealed both abnegation and dedication to knowledge. I am thankful also to Adam Ledgeway for his exceptional expertise in Neapolitan dialect. I am grateful to the invaluable help of Claudio Novelli from the Archivio De Filippo and of Virginia Acqua for providing information and data essential to my research, and for their patience in answering my innumerable questions. I am indebted to Giulio Baffi who offered precious and exclusive documentation on Eduardo De Filippo’s theatre. In addition I am grateful for their help to the National Theatre Archive and the V&A Theatre and Performance Archive, to Rosanna Cuomo and Stefania Maraucci from the Press Office of the Teatro Mercadante, to Nadine Holdsworth and to Shelagh Rixon. My gratitude goes also to Carlo Ardito, Timberlake Wertenbaker, Mike Stott, Beatrice Basso and Gloria Paris who provided first hand thorough information about the material I have analyzed which would have been impossible to obtain without their help. I am grateful also to Susan Bassnett for her acute and illuminating comments on parts of my thesis. In addition I am very grateful to Pippo Delbono who offered me the opportunity to have a closer view of outstanding theatre. My thanks go to Susan Brock, the Capital Centre and the Royal Shakespeare Company for making it possible for me to gain such a valuable experience. I would also like to thank Silvija Jestrovic, with whom I shared the enriching experience of organizing a stimulating conference on theatre translation. I am deeply grateful to my family and friends who supported and encouraged me throughout my journey with their love and understanding and they are: my friend Michèle, my beloved brother Valerio, Ornella, Grazia and Pasquale. I am also grateful to my husband Franco and to my precious sons Amedeo and Eugenio who have given me their love and appreciation and have believed in me. Finally I am thoroughly grateful and indebted to my supervisor Ann Caesar for her inspiring guidance, her professionalism and her exquisite manners, and whose help has been invaluable in the completion of this thesis. DECLARATION I declare that this thesis is my own work and that it has not been submitted for a degree at another university. I declare that in Chapter Two I have incorporated material drawn on my MA dissertation submitted in 2006 at the University of Warwick. vi ABSTRACT The thesis sets out to examine cultural transfer from Neapolitan dialect into English, in the translations of plays by the contemporary Neapolitan playwright Eduardo De Filippo (1900-1984). It involves a comparative textual analysis of English translations of a selection of De Filippo’s plays in order to identify the translation strategies employed by each translator to represent Neapolitan cultural identity. Eduardo De Filippo can be defined as one of the most prominent contemporary Italian playwrights who employed dialect to portray characters who trespassed the boundaries of both Neapolitan and Italian society and to address social issues which were comprehensible to a vast public. In fact, his innovative contribution resided in the ability to bring vernacular theatre to national and international level. Thus the objective of the study is to bring to light the universality of De Filippo’s message albeit the limited linguistic medium and to show how his theatre is represented in the Anglo-Saxon milieu. The aim of previous critical studies on the matter has been to focus on the stage representations of De Filippo’s oeuvres, without particular emphasis on the analysis of the dialect. Drawing on a variety of theatre as well as translational frameworks (critical work on translation and in particular on theatre translation, the polysystem theory, the descriptive
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