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The Mercurian Volume 3, No The Mercurian A Theatrical Translation Review Volume 3, Number 4 Editor: Adam Versényi ISSN 2160-3316 The Mercurian is named for Mercury who, if he had known it, was/is the patron god of theatrical translators, those intrepid souls possessed of eloquence, feats of skill, messengers not between the gods but between cultures, traders in images, nimble and dexterous linguistic thieves. Like the metal mercury, theatrical translators are capable of absorbing other metals, forming amalgams. As in ancient chemistry, the mercurian is one of the five elementary “principles” of which all material substances are compounded, otherwise known as “spirit”. The theatrical translator is sprightly, lively, potentially volatile, sometimes inconstant, witty, an ideal guide or conductor on the road. The Mercurian publishes translations of plays and performance pieces from any language into English. The Mercurian also welcomes theoretical pieces about theatrical translation, rants, manifestos, and position papers pertaining to translation for the theatre, as well as production histories of theatrical translations. Submissions should be sent to: Adam Versényi at [email protected] or by snail mail: Adam Versényi, Department of Dramatic Art, CB# 3230, The University of North Carolina at Chapel Hill, Chapel Hill, NC 27599-3230. For translations of plays or performance pieces, unless the material is in the public domain, please send proof of permission to translate from the playwright or original creator of the piece. Since one of the primary objects of The Mercurian is to move translated pieces into production, no translations of plays or performance pieces will be published unless the translator can certify that he/she has had an opportunity to hear the translation performed in either a reading or another production-oriented venue. All material published in The Mercurian is protected by international copyright law. Inquiries related to production or reproduction should be directed to the translator of the piece in question. The Mercurian, Vol. 3, No. 4 1 The Mercurian Volume 3, Number 4 Table of Contents Editor’s Note 3 Uncle Vanya 6 By Anton Chekhov New Version by Libby Appel From a literal translation by Allison Horsley Love the Doctor: Introduction 89 Sarah Brew and Josephine Hardman Love the Doctor 93 By Tirso de Molina Translated by Sarah Brew and Josephine Hardman A Man Walks into a World: Introduction 234 By Henning Bochert A Man Walks into a World 239 By Martin Heckmanns Translated by Henning Bochert The Mercurian, Vol. 3, No. 4 2 Editor’s Note: This issue of The Mercurian begins with Libby Appel and Allison Horsley’s new translation of Anton Chekhov’s Uncle Vanya, originally commissioned for performance at the Oregon Shakespeare Festival. Uncle Vanya concludes the publication of all of Appel and Horsley’s translations of Chekhov’s major plays in The Mercurian. The translations can also be accessed at the website for their Chekhov project, www.chekhovplays.com. Sarah Brew and Josephine Hardman’s translation of Tirso de Molina’s Love the Doctor continues The Mercurian’s efforts to provide playable translations of the rich theatrical tradition from the Spanish Golden Age. Brew and Hardman’s introduction to their translation discusses the translation and adaptation choices they made in the search for a contemporary theatrically viable translation of a sixteenth-century Spanish text. Their choices can be profitably juxtaposed against Oliver Mayer’s much freer adaptations of Cervantes’ entremeses published in Volume 3, No. 2 of The Mercurian. We end this issue with Henning Bochert’s translation of the contemporary German playwright Martin Heckmanns’ play, A Man Walks into a World. The interrogation of identity created by Heckmanns in the play presents interesting linguistic challenges for a translator that Bochert discusses in his introduction to the play. Finally, this issue contains an announcement of, and call for participation in, Theatrical Translation as Creative Process: A Conference/Festival, to be held at Duke University and the University of North Carolina in April 2012. Staged readings of a number of translations by members of The Mercurian community will be performed. We invite you all to join us! Back issues of the journal can now be found under “Related Links” on the website of the Department of Dramatic Art at the University of North Carolina, http://drama.unc.edu/ where we will maintain a permanent web presence. As the theatre is nothing without its audience, The Mercurian welcomes your comments, questions, complaints, and critiques. Deadline for submissions for consideration for Volume 4, No. 1 will be May 1, 2012. --Adam Versényi The Mercurian, Vol. 3, No. 4 3 Advisory Board Neil Blackadder, Knox College Catherine Coray, hotINK at the LARK/New York University Richard Davis, George Mason University/Theater of the First Amendment Jean Graham-Jones, The Graduate Center, The City University of New York David Johnston, Queen’s University, Belfast, N.Ireland Kirsten Nigro, The University of Texas-El Paso Caridad Svich, Playwright/Translator Paul Walsh, Yale School of Drama The Mercurian, Vol. 3, No. 4 4 THEATRICAL TRANSLATION AS CREATIVE PROCESS: A CONFERENCE/FESTIVAL: From April 12-15, 2012 The Mercurian: A Theatrical Translation Review, in conjunction with The Process Series of the Carolina Performing Arts Series, the Department of Dramatic Art at the University of North Carolina, and the Performance and Embodied Research Colloquium and Theatre Studies at Duke University, will hold a conference/festival on theatrical translation as creative process. Please join us! The Process Series will present staged readings of four theatrical translations: Huddersfield by Uglijisa Stilnac, translated and adapted by Caridad Svich; Vengeance Can Wait by Yukiko Montoya, translated and adapted by Kyoko Yoshida/Andy Bragen; The Ballad of the Pine Tree Killer by Rebekka Kricheldorf, translated by Neil Blackadder; and Apocalypse Tomorrow by Ricardo Monti, translated by Jean Graham-Jones. In addition, there will be readings of The Divorce Court Judge and Dirty Fraud, The Widowed Pimp by Miguel Cervantes and translated by Oliver Mayer outside of The Process Series. Andy Bragen, Neil Blackadder, Jean Graham-Jones, and Oliver Mayer will be in residence to rehearse the readings, and will join us to discuss their work as translators in the creative process. The Conference will be organized following the “Open Space” model in which there are no prepared papers or presentations, but every person attending can propose a topic for discussion. Further information will be provided on the first day of the conference. Registration and hotel information can be found at: http://sites.duke.edu/perc/translationconference/ Please contact Adam Versényi, [email protected], with any questions. We look forward to seeing you in April! The Mercurian, Vol. 3, No. 4 5 UNCLE VANYA Scenes from Country Life in Four Acts By Anton Chekhov New version by Libby Appel From a literal translation by Allison Horsley Commissioned by The Oregon Shakespeare Festival Artistic Director Bill Rauch Executive Director Paul Nicholson Required royalties must be paid every time this play is performed before any audience, whether or not it is presented for profit and whether or not admission is charged. To purchase acting editions of this play, to obtain stock and amateur performance rights, and for all other inquiries, please contact: Abrams Artists Agency, 275 Seventh Ave., 26th Floor, New York, NY 10001, attn: Morgan Jenness, [email protected]. The Mercurian, Vol. 3, No. 4 6 CHARACTERS ALEKSANDER VLADIMIROVICH SEREBRYAKOV, a retired professor YELENA ANDREYEVNA, his wife, 27 years old SOFYA ALEKSANDROVNA (Sonya), his daughter from his first marriage MARIA VASILYEVNA VOINITSKAYA, a widow of Privy Councillor, the mother of the professor’s first wife IVAN PETROVICH VOINITSKY (Vanya), her son MIKHAIL LVOVICH ASTROV, a doctor ILYA ILYICH TELYEGIN (Waffles), an impoverished landowner MARINA TIMOFEYEVNA, an old nurse YEFIM, a workman The action occurs on SEREBRYAKOV’s country estate. The Mercurian, Vol. 3, No. 4 7 ACT I A garden. Part of a house with a terrace is visible. On a path under old poplars is a table, laid for tea. Benches, chairs; on one of the benches lies a guitar. Not far from the table is a child’s swing. – Between two and three o’clock in the afternoon. Overcast. MARINA (a slow-moving old woman, sits by the samovar, she knits a stocking) and ASTROV (he paces nearby). MARINA (She fills a glass). Eat. Eat something. ASTROV (Reluctantly takes the glass) I’m not hungry. MARINA Maybe a little vodka? ASTROV No. I don’t drink vodka every day. Anyway, it’s so hot today. Pause. Sweetheart, how long have we known each other? MARINA (Pondering.) How long? God help me, let’s see …You arrived in these parts … when? … Sonyechka’s mother, Vera Petrovna, was still alive. Two times you came here to help her … so it must be eleven The Mercurian, Vol. 3, No. 4 8 years. (Having thought.) Well, maybe more. ASTROV Have I changed much? MARINA Oh, sure. You were so young and handsome. Now you’re old and not so good looking anymore. Besides — too much vodka… (She makes a “tsk tsk tsk” sound.) ASTROV Yes… In ten years I’ve become a different man. And why? I work too hard, nyanya. I’m on my feet all day long. I don’t get a moment’s rest until I’m in bed at night — and then I’m terrified they’ll drag me out for another patient. In all these years here, I haven’t had a single day off. How could I stay young? And anyway, life is boring, stupid, dirty…it drags you down. And everyone you meet is crazy — honest to God, everyone I know is crazy. Try living among them for a while and you become a crazy person too — no getting away from it.
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