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Projections of Greek Self-Identity Through English Translations During The City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2017 Theatre Translation as Historiography: Projections of Greek Self- Identity Through English Translations During the European Crisis Maria Mytilinaki The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2089 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THEATRE TRANSLATION AS HISTORIOGRAPHY: PROJECTIONS OF GREEK SELF-IDENTITY THROUGH ENGLISH TRANSLATIONS DURING THE EUROZONE CRISIS by Maria Mytilinaki A dissertation submitted to the Graduate Faculty in Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2017 © 2017 MARIA MYTILINAKI All Rights Reserved ii Theatre Translation as Historiography: Projections of Greek Self-Identity through English Translations during the European Crisis by Maria Mytilinaki This manuscript has been read and accepted for the Graduate Faculty in Theatre in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. 4/19/2017 Jean Graham-Jones Date Chair of Examining Committee 4/19/2017 Peter Eckersall Date Executive Officer Supervisory Committee: Professor Jean Graham-Jones Distinguished Professor Marvin Carlson Distinguished Professor David Savran THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Theatre Translation as Historiography: Projections of Greek Self-Identity through English Translations during the European Crisis by Maria Mytilinaki Advisor: Jean Graham-Jones This project focuses on theatre translation from Modern Greek into English through the examination of three plays translated in the early years of the ongoing Greek crisis (2012-2014). Currently Greek culture is received internationally through two important frames of reference: Hellenism, the admiration for the ancient Greek spirit, and the more recent negative associations with modern Greece provoked by the Eurozone crisis. The three translations I examine challenge these dual external projections onto Greek culture by promoting a more nuanced image that recontextualizes the Greek past. In their capacity to travel between cultures, often in bilingual iterations, these theatrical translations selectively elucidate obscure aspects of Greek history in a process of cultural self-representation as they attempt to renegotiate the preconceptions implicit in forming Greece’s image abroad. In this sense, translation serves as a historiography that contributes to a cultural politics within and beyond national borders. The three plays I analyze, Alexandrovodas the Unscrupulous, Abandon the Citizens, and Sons and Daughters, especially by way of their translation, propose new ways of seeing these histories and invite foreign audiences to reconsider their presumptions about Greek culture, whether they stem from an admiration for the country’s classical past or from contempt and pity for its current economic fate. I argue that translation functions here as historiography: without turning its back on Europe, Greek theatre in iv English seeks to update its affiliations and to re-negotiate its Ottoman and Balkan influences by highlighting historical differences and reframing them under current cultural tensions. v To Brian vi Acknowledgements First and foremost, I would like to thank my advisor, Professor Jean Graham-Jones for her commitment, valuable advice, and patience throughout the long process of developing my topic, designing the project, and finally turning this research into a finished dissertation. I would also like to thank the other two members of my committee, Distinguished Professors Marvin Carlson and David Savran for their generous feedback and guidance in my academic and professional progress. I received generous funding for this research provided by the Fulbright Commission in Greece and the Enhanced Chancellor’s Fellowship from the Graduate Center, CUNY. Necessary research trips were made possible with the support of multiple Graduate Center Research Awards, the Provost Summer Research Awards, as well as the Graduate Center Theatre Program awards and the Rosette C. Lamont grant. I would like to take this opportunity to thank all the people who recommended me and who read my applications for these awards. I am also grateful for the hospitable environment at the Faculty and Graduate Student Reading Room in the Aristotle University of Thessaloniki, where I completed the final stages of this work. Special thanks go to the translators, writers, and directors that agreed to be interviewed for this project: Eleni Drivas, Yannis Kalavrianos, Aktina Stathaki, Anna Stavrakopoulou, and Lyto Triantafyllidou. The following people among the Graduate Center community made even the hardest times manageable: Lynette Gibson, who always found a way to help me even when I was facing most unusual problems, Anne Ellis, who guided me to opportunities and helped me navigate the financial aid system, and Jeanette Palmer, who helped me cope with the pains of graduate student life. I would like to thank my friends and colleagues in the Theatre Program, especially vii those who shared the Green Room with me during all those years of graduate work. The intellectually stimulating atmosphere they cultivated, their compassion, and most importantly, their sense of humour will stay with me forever. Pamela Kierejczyk Thielman and Donatella Gallela were brave enough to join me in a dissertation Writing Group, and I would like to thank them in particular. I have been lucky to have begun doctoral studies with my fellow “international student,” Alosha Grinenko; I am forever grateful for his clarity and positive attitude. This work wouldn’t have been possible without the support of my family and friends. I would like to extend my heartfelt gratitude to Bess, who has done more for me than words can say. And Christina and Periklis, who believe in me and supported me since this work was a dream that seemed so far away. viii Table of Contents Introduction .................................................................................................................................... 1 Chapter 1 An Eighteenth Century Greek Play Translated into English for the First Time: Alexandrovodas the Unscrupulous .............................................................................................. 41 Chapter 2 Crisis and Memory on the Foreign Stage: Abandon the Citizens ............................... 84 Chapter 3 The Greek Twentieth Century with Supertitles: Sons and Daughters ...................... 129 Conclusion ................................................................................................................................. 175 Bibliography .............................................................................................................................. 189 ix Introduction My project focuses on theatre translation from Modern Greek into English through the examination of three plays translated in the early years of the ongoing Greek crisis (2012-2014). Currently Greek culture is received internationally through two important frames of reference: Hellenism, the admiration for the ancient Greek spirit, and the more recent negative associations with modern Greece provoked by the Eurozone crisis. The three translations I examine challenge these dual external projections onto Greek culture by promoting a more nuanced image that recontextualizes the Greek past. In their capacity to travel between cultures, often in bilingual iterations, these theatrical translations selectively elucidate obscure aspects of Greek history in a process of cultural self-representation as they attempt to renegotiate the preconceptions implicit in forming Greece’s image abroad. In this sense, translation serves as a historiography that contributes to a cultural politics within and beyond national borders. The three plays I analyze, Alexandrovodas the Unscrupulous, Abandon the Citizens, and Sons and Daughters, were presented to their original audiences under different circumstances and with different goals. In their circulation in English translation, however, they share some critical characteristics. All three were translated by native Greek speakers who attempted to export their work, and as such all three represent attempts to communicate the cultural tensions associated with the present socioeconomic circumstances beyond the Greek language. While none of the plays addresses the Greek economic crisis in a direct manner, each one’s translation and circulation take place during a time when there is a pronounced tendency to revisit recent history with the opportunity of the crisis, resulting in what Dimitris Papanikolaou has called “the 1 disturbed archive.”1 Papanikolaou’s approach describes the ways the crisis has prompted an attack on the conceptual continuity between ancient and modern Greece. During the fiscal, political, and social disorder, Greek cultural production has turned to obscure moments of national history and marginalized personal memories and foregrounded these experiences in an attempt to reframe and question dominant narratives. The plays I consider, especially by way of their translation, propose new ways of seeing these histories and invite foreign audiences
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