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An Act of Imagination<br />

Philip Boehm<br />

In truth I am an impostor, a<br />

theater director masquerading as<br />

a translator. (Incidentally the fact<br />

I consider translation my “day<br />

job” says a lot about working<br />

in the theater.) And over the<br />

years I’ve come to the conclusion<br />

that the two trades have a lot<br />

in common. They both involve<br />

taking a written text from one<br />

place to another. And they both<br />

begin with an act of imagination.<br />

Theater always happens<br />

right here and now: the live<br />

event is what moves the audience<br />

to laugh or cry or walk out dazed. The written play is all about<br />

potential, much like a musical score or perhaps a chemical<br />

formula that tells us when A comes into contact with B there will<br />

be a release of energy. The director’s job is to summon the world<br />

of the play onstage and catalyze that release.<br />

Translators do much the same thing: we first distill the<br />

potential of the original, then conjure its world in another<br />

language, another time, another place. And both translators and<br />

directors have to cope with a shifting cultural context. Plays by<br />

Tennessee Williams seem quite concrete in St. Louis but a bit<br />

more abstract in Kyoto. Kafka’s Trial was read differently by<br />

Eastern European dissidents than by American professors. And<br />

when Joseph Brodsky toured as Poet Laureate of the United<br />

States, he would read the same poem in Russian and in English,<br />

shifting from fairly flat delivery for the former to dramatic<br />

declamation more suited to his native tongue.<br />

Every performance requires long periods of training and<br />

rehearsal to ensure that it stays grounded in the reality being<br />

created on stage. Such grounding is also essential work for<br />

translators, so that the re-creation of the original text remains<br />

so securely and deeply rooted that it can achieve a life of its<br />

own. Clearly the first step in this process is to understand the<br />

language of the original—and not merely vocabulary, syntax,<br />

and grammar, but the personality of that language.<br />

For example, working in German, I am constantly amazed<br />

The Art of Empathy: Celebrating Literature in Translation<br />

25

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