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Prevođenje Suvremenih Drama Sarah Kane Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni diplomski studij engleskog jezika i književnosti – prevoditeljski smjer i njemačkog jezika i književnosti – prevoditeljski smjer Iris Spajić Prevođenje suvremenih drama Sarah Kane Diplomski rad Mentorica: prof. dr. sc. Marija Omazić Sumentorice: Romana Čačija, viši lektor i doc. dr. sc Sonja Novak Osijek, 2018. Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Osijek Studij: Dvopredmetni sveučilišni diplomski studij engleskog jezika i književnosti – prevoditeljski smjer i njemačkog jezika i književnosti – prevoditeljski smjer Iris Spajić Prevođenje suvremenih drama Sarah Kane Diplomski rad Znanstveno područje: humanističke znanosti Znanstveno polje: filologija Znanstvena grana: anglistika Mentorica: prof. dr. sc. Marija Omazić Sumentorice: Romana Čačija, viši lektor i doc. dr. sc Sonja Novak Osijek, 2018. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double Major MA Study Programme in English Language and Literature – English Translation and Interpreting Studies and in German Language and Literature – German Translation and Interpreting Studies Iris Spajić Translating Contemporary Plays by Sarah Kane Master's Thesis Supervisor: Dr. Marija Omazić, Professor of Linguistics Co-supervisors: Romana Čačija, senior language instructor and Assist. Prof. Dr. Sonja Novak Osijek, 2018. J.J. Strossmayer University of Osijek Faculty of Humanities and Social Sciences Study Programme: Double Major MA Study Programme in English Language and Literature – English Translation and Interpreting Studies and in German Language and Literature – German Translation and Interpreting Studies Iris Spajić Translating Contemporary Plays by Sarah Kane Master's Thesis Scientific area: humanities Scientific field: p,hilology Scientific branch: English Studies Supervisor: Dr. Marija Omazić, Professor of Linguistics Co-supervisors: Romana Čačija, senior language instructor and Assist. Prof. Dr. Sonja Novak Osijek, 2018. Abstract: Translating contemporary drama is a difficult task since the translators have to be knowledgeable in the field of both translation and drama theory, familiarise themselves with the context of the playwright’s time, and, of course, with his/her background, opus and style. The present study analyses Sarah Kane’s plays and their translation into the German language. For the purpose of this research, a corpus was compiled and the play Cleansed was translated in order to be able to draw a comparison between strategies used in the German and the Croatian translation of the aforementioned play. The analysed categories in all of the plays were drug abuse, profanities and vulgarities, sex and sexuality, as well as slurs and insults. The aim of this study was to observe the prevalence of the individual categories in Complete Plays, to show which strategies are most commonly used in German and which ones in Croatian, and, finally, to show the differences between the Croatian and the German translation of Cleansed in terms of the strategies used in translating. Keywords: contemporary drama, Cleansed, drama translation, Sarah Kane, theatre Table of Contents 1 Introduction ........................................................................................................................ 1 2 Translation ......................................................................................................................... 3 2.1 Translation taxonomies ............................................................................................... 6 3 Literary translation ........................................................................................................... 12 3.1 Drama translation ...................................................................................................... 15 4 The times they are a-changin': Leap into contemporary drama ....................................... 22 4.1 Postdramatic theatre .................................................................................................. 24 4.2 In-yer-face theatre ..................................................................................................... 26 5 Sarah Kane: enfant terrible .............................................................................................. 31 5.1 ‘Love me or kill me’: An overview of Sarah Kane’s plays ...................................... 34 5.1.1 Blasted................................................................................................................ 36 5.1.2 Skin ..................................................................................................................... 38 5.1.3 Phaedra’s Love .................................................................................................. 39 5.1.4 Cleansed ............................................................................................................. 40 5.1.5 Crave .................................................................................................................. 42 5.1.6 4.48 Psychosis .................................................................................................... 43 6 ‘You get mixed messages because I have mixed feelings’: The analysis of Sarah Kane’s plays ......................................................................................................................................... 45 6.1 On translating Cleansed ............................................................................................ 48 6.2 Drug abuse................................................................................................................. 50 6.3 Profanities and vulgarities ......................................................................................... 53 6.4 Sex and sexuality ....................................................................................................... 63 6.5 Slurs and insults ........................................................................................................ 76 6.6 Other .......................................................................................................................... 87 7 Conclusion ....................................................................................................................... 93 8 Bibliography .................................................................................................................... 96 Appendices ............................................................................................................................. 102 Appendix 1 ............................................................................................................................. 102 Appendix 2 ............................................................................................................................. 111 Appendix 3 ............................................................................................................................. 112 Appendix 4 ............................................................................................................................. 113 Appendix 5 ............................................................................................................................. 114 Appendix 6 ............................................................................................................................. 115 Appendix 7 ............................................................................................................................. 116 Appendix 8 ............................................................................................................................. 117 Appendix 9 ............................................................................................................................. 118 Appendix 10 ........................................................................................................................... 119 Appendix 11 ........................................................................................................................... 120 Appendix 12 ........................................................................................................................... 121 Appendix 13 ........................................................................................................................... 122 Appendix 14 ........................................................................................................................... 123 Appendix 15 ........................................................................................................................... 124 Appendix 16 ........................................................................................................................... 125 Appendix 17 ........................................................................................................................... 126 Appendix 18: .......................................................................................................................... 127 1 Introduction This thesis discusses translating contemporary plays on the example of Sarah Kane’s plays. The aim of the thesis is to show the specificity of translating drama as a genre, especially with regards to the author’s distinct style. The aim of the analysis is to observe the prevalence of individual categories in Complete Plays by Sarah Kane, as well as to show which
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