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BEST PRACTICE EXAMPLE 7: Young Europe – Young Creation and Education in TheatreAdministrating Organisation & Partners(Countries) involved:ETC (France), Nottingham Playhouse (UK),Det Norske Teatret (NO), Deutsches TheaterBerlin (DE), Théâtre de l’Est Parisien (FR),Cyprus Theatre Organisation (CY), Theater ander Parkaue (DE), Comedie de Geneve (CH),Theater & Orchester Heidelberg (DE)Please specify the Target Group(s) of theproject:Young audiences and students (9-15 years)and young theatre professionalsFinancing:406 000 EUR: 48,81% funding from EU cultureprogramme 2008Main reason(s) why your project is a bestpractice example:The project promoted multilingualism, raisedawareness of the European linguistic diversityand opened up the discussions between theparticipants and beneficiaries of the projectabout the linguistic importance when workingin a cultural diverse environment.Foreign language learning can be fosteredwhen an interest in other cultures has beeninitiated.The project reached out to young people andadult learners who have been confronted withlanguage learning subjects when working onan international collaboration project.Sustainability:Yes, in 2010 individual performances will bepresented in new countries to a new audiencespeaking another language. A festival will beorganised where all performances will bepresented in schools and theatres.Possible follow-up Project:A new edition of the project is in preparationfor 2011-2013..Project Location(s) (Country) & Duration:01.10.2008-31.10.2010United Kingdom, Norway, Germany, Cyprus, France,Switzerland, Romania, SlovakiaTopics / aims of the project:Create relations beyond natural language borders and toexperiment new theatrical languages in EuropeReinforce collaborations between theatre and educationand to stimulate encounters between young theatreprofessionals and young audiencesContact / Website:ETC: Heidi Wiley, hwiley@etc-cte.orghttp://www.etc‐cte.org,http://youngeurope.wordpress.com/about/Project Objectives and Description:Theatre is important to a society as it tells the stories ofthe lives of its members. In a society in change thesesstories become even more important. The theatre inEurope today has therefore an important role as it has totell the stories and witness the lives, not just about“ourselves” but also “the other” and the confrontationwith “the other”. For young theatre professionals theworld becomes more and more open, but the tools toassimilate this new situation and present it on the stageare limited. The project consists in eight co-creations,two workshops with theatre students, and twointernational conferences. The participants areconfronted with questions regarding identity andbelonging, immigration and rejection, violence, familyand relationships, and will explore how new theatricallanguages can be used while crossing borders.Give another good practice example you know of:THEATRE YOUTH FORUM, ETC STAFF EXCHANGEWhat changes would you like to see (and by whatactors, at what levels) that will help you do your workbetter ?The creation of multilingual work requires assistance onan international level. Therefore increased costs fortravel, accommodation and also translation costs mustbe covered for . Additional funding opportunities forsmall scale projects would help very much to organisemore efficiently a higher number of alike projects.Civil Society Platform on Multilingualism 72APPENDIX to Policy Recommendations06/06/2011 – FINAL VERSION
WORKING GROUP ON TRANSLATION AND TERMINOLOGYGroup Members’ Position PapersContribution from EEU/European Esperanto UnionTraduttore, traditore?Translation is difficult to appreciate in the abstract – most consideration of this ‘most difficultof arts’ 41 quickly leads us to specific problems in translating between two specific languages.The present note looks very briefly at the situation regarding translation to and fromEsperanto.Esperanto and Translation – some little-known factsThough original literature in Esperanto is now more extensive than translations 42 , theShakespearean scholars, Janton and Tonkin, tell us that 43“… at least 10,000 literary works have been translated into Esperanto … theseconstitute the largest anthology of world culture ever undertaken for popularconsumption. … Through Esperanto translation, several masterpieces of little-knownor minority cultures have gained a worldwide audience and reached levels of societynormally indifferent to foreign literatures.”Nagy 2007, for instance, lists 622 translations by 78 translators from Romanian to Esperanto,and literary anthologies translated from most major languages, and many minor ones, havebeen published in Esperanto 44 . Auld 1991 contains poetry translated from 73 languages. Buttranslation flows in both directions: for instance, McKay 2009 contains English, ScottishGaelic and Scots versions of William Auld’s magnum opus La Infana Raso (The Infant Race),which had already been published in Portuguese, Polish, Dutch, French and Hungariantranslations. Oeste, Becker, Cherpillod, de Diego, Richmond and Schulze deal with otheraspects of translation. Janton 1989 draws our attention to a fact that is often overlooked:"... translators into Esperanto enjoy a unique advantage over translators into ethniclanguages because they translate from their own vernacular whereas the reverse isthe rule with translators into ethnic idioms. … Thus Esperanto acts as a bridgebetween cultures. It is the Esperanto version of Marta that has been translated intoChinese and Japanese. … Only a Finn could give to the Kalevala that fidelity down tothe last syllable that the translator Johan Leppäkoski provides." 45Much Croatian and Hungarian literature, for instance, has been translated into Esperanto,and thence to Chinese and Japanese, thus creating a real cultural bridge. To give just oneexample of the potential of Esperanto: the concept behind the Italian traduttore, traditore(the translator is a traitor) is not easily expressed in other languages in two words, and istherefore normally quoted in Italian. Auld, however, produces a brilliant Esperanto version,traduko, trukado, 46 where the brevity of the original is not only maintained, but surpassed,and the letters used in both words are identical. Shakespeare’s Hamlet has been translated41Auld 1986: 91.42Valén 2004: 81; Sutton 2008: 2.43Janton and Tonkin 1993: 93, 94, xii.44Many are listed at http://katalogo.uea.org/katalogo.php?kateg=antl.45Janton 1989: 213; Janton and Tonkin 1993: 94-95.46Auld 1986: 104. The meaning of traduko is obvious; trukado comes from the verb truki (related to French truc, plus the suffix–ad, signifying duration)Civil Society Platform on Multilingualism 73APPENDIX to Policy Recommendations06/06/2011 – FINAL VERSION
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languages, and on best practices in
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On Translation and Terminology*Full
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Recommendations1 EU language plan t
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cost-benefit analysis comparing Eng
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