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TRANSLATING DRAMA: THE MAIN ISSUES accessible to readers, audiences and theatre practitioners; the translator was at liberty to treat the text as an open one. He/she is not hindered in his/her efforts by the perspective of the text becoming the basis for a certain theatrical production directed by a certain director. “Loosely targeted translations are not likely to highlight any particular thematic reading of their source text but rather encourage the perception of it as an open text. The expected life span of loosely targeted translations is long”. (2005, online) Another strategy is that of “creating a new source text”. Such a policy is not circumscribed to a cultural or geographic area. It consists in the creation of a new SL text, a version, starting from the original SL text. This kind of reworking the original and then transposing it in the TL is addressed to a very small receptor group, “usually one particular theatre practitioner, the playwright, whose expertise is believed to be in the particular register of theatrical language and its conventions” (2005, online). The translator is expected to be an expert in the SL and SL culture, and his/her task is to imitate the source language text both linguistically and conceptually in the TL. The objective of this type of translation is to focus attention on the foreignness of the SL and the specificity of the SL culture and such texts are short-lived as they are the materialisation of a very specific objective. The third strategy, “controlled viewing” is the most precisely targeted of the three. Drama translations of this type single-time events, they are aimed at controllable audio-visual reception on stage, they are devised to be performed in a particular location, at a designated time, in front of a definable audience. We could add a fourth strategy: “creative re-writing”. The practitioners of this manner of translating are playwrights who are commissioned to produce a metatext of the original. The prototext is used as an outline, a pattern, a starting point upon which the translator freely builds the metatext aimed at TL audiences with a developed taste for entertainment and a reduced cultural curiosity. Instead of a Conclusion To sum up, in accordance with the views of theorists of translation, since the seventeenth century, the translation of drama, has been approached in two ways. One of them has viewed the dramatic text merely as a literary text. It is the case of the translations from classical Greek and Roman playwrights as well as from classics of other national literatures. The performance dimension is absent and the foremost criteria for the translators were the faithfulness towards the SL texts and their literary quality. Another approach is the “desacralisation” of the SL texts. They have been translated and adapted for performance to suit the expectations of various kinds of audiences, or a variety of special situations and limitations (size of company, time and space etc.). 191
IOAN – LUCIAN POPA References: Aaltonen, S. 2005. Targeting in Drama Translation: Laura Ruohonen’s Plays in English Translation. (Online http://www.uwasa.fi/hut/ english/ aaltonen/vakki2004.doc) Bassnett, S. 1978. “Translating Spatial Poetry: an Examination of Theatre Texts in Performance”, in James H. et al (eds). Literature and Translation, Louvain: Acco Bassnett, S. 1991. “Translating for the Theatre: The Case Against Performability”, TTR, Vol. IV, No. 1 Chau, S. S. C. 1978. “The Nature and Limitations of Shakespeare Translation”, New Asia Academic Bulletin I Che Suh, J. 2002. “Compounding Issues on the Translation of Drama/Theatre Texts”, Meta, Vol. XLVII, 1 Ladouceur, L. 1995. “Normes, fonctions et traduction théâtrale”, Meta, Vol. XL. No. 1 192
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CULTURE, SUBCULTURE, COUNTERCULTURE
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GENERAL EDITORS: Michaela Praisler
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Doiniţa Milea On the Plurilinguist
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EDITORS’ NOTE The papers in the p
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PETRU IAMANDI National fandom reall
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PETRU IAMANDI NBC started broadcast
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PETRU IAMANDI those searching simpl
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MICHAELA PRAISLER, STELUŢA STAN ch
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MICHAELA PRAISLER, STELUŢA STAN ma
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MICHAELA PRAISLER, STELUŢA STAN mu
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KATHY ACKER’S PIERCING METHOD: DO
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RUXANDA BONTILĂ machine at the lev
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RUXANDA BONTILĂ head on every desk
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RUXANDA BONTILĂ language that was
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RUXANDA BONTILĂ pernicious charact
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LIDIA MIHAELA NECULA writing Englis
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LIDIA MIHAELA NECULA very beginning
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LIDIA MIHAELA NECULA a forceful veh
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(RE)CREATING CULTURAL IDENTITY - SA
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ANCA MIHAELA DOBRINESCU oscillate b
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ANCA MIHAELA DOBRINESCU commands of
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THE POWER OF PLACE: THE POLITICS OF
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REMUS BEJAN Representational space
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REMUS BEJAN step out of the backs o
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REMUS BEJAN Store and spread itself
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CROSSING BORDERS THROUGH MUSIC IN R
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TITUS POP in 1937, and Vina Apsara,
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TITUS POP book’s pages. Some are
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TITUS POP westward, he not only rev
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TITUS POP Conclusion To conclude, m
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GABRIELA IULIANA COLIPCĂ Yet, thes
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GABRIELA IULIANA COLIPCĂ open, pub
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GABRIELA IULIANA COLIPCĂ in the fi
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GABRIELA IULIANA COLIPCĂ perversel
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GABRIELA IULIANA COLIPCĂ despair a
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CULTURAL TYPES AND THEIR DISCOURSE
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MIHAELA CULEA fortune hunter, the r
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MIHAELA CULEA interference of women
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MIHAELA CULEA Europe on foot. Thus,
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MIHAELA CULEA her as if she were an
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ON THE PLURILINGUISTIC AND THE MULT
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DOINIŢA MILEA The transformation o
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DOINIŢA MILEA After a synthesis de
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DOINIŢA MILEA revolutionary Vilniu
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THE FRUSTRATION OF THE JEWISH SPIRI
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ALINA BEATRICE CHEŞCĂ of somewhat
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ALINA BEATRICE CHEŞCĂ down in it
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(PSEUDO-)MYTHS OF THE 20 TH CENTURY
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ANDREIA IRINA SUCIU enacting some p
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ANDREIA IRINA SUCIU in the religiou
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ANDREIA IRINA SUCIU exchange betwee
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ANDREIA IRINA SUCIU consequence is,
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ANDREIA IRINA SUCIU Englishman who
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ANDREIA IRINA SUCIU impatient to mo
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A MYTH-ANALYSIS OF POLITICAL AND NO
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ALINA CRIHANĂ, DANIELA ŞORCARU su
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ALINA CRIHANĂ, DANIELA ŞORCARU th
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SIMONA ANTOFI critics may relate th
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SIMONA ANTOFI nici o pudoare, făr
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THE WOUNDEDNESS OF SYLVIA PLATH’S
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ELENA CIOBANU answers waiting to be
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ELENA CIOBANU reference of such met
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ELENA CIOBANU Merleau Ponty, M. 199
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NICOLETA IFRIM, ISABELA MERILĂ den
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NICOLETA IFRIM, ISABELA MERILĂ the
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DANIELA ŢUCHEL meaning listed: “
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DANIELA ŢUCHEL Theme with variatio
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DANIELA ŢUCHEL have.” In like ma
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MARIANA NEAGU 1.3 Purpose In this p
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Page 153 and 154: MARIANA NEAGU environment, geopolit
Page 155 and 156: MARIANA NEAGU Gentner, D., Imai, M.
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Page 159 and 160: IULIANA LUNGU “To change markets
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Page 163 and 164: FLORIANA POPESCU, DANIELA ŞORCARU
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Page 179 and 180: SMALL CULTURE AND VERNACULAR LANGUA
Page 181 and 182: ELENA CROITORU speech differing fro
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Page 221 and 222: FREDERIK STIERNSTEDT, LINUS ANDERSS
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THE ORIGINS OF ROMANIAN HIP-HOP: SO
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DANIELA ŞORCARU Their next album,
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DANIELA ŞORCARU with TV stations o
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DANIELA ŞORCARU first appears live
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DANIELA ŞORCARU violent”. The ly
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DANIELA ŞORCARU Although the album
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DANIELA ŞORCARU In 2007 they settl
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LIGIA PÎRVU opposed by many other
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LIGIA PÎRVU famous people of this
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GABRIELA DIMA Rembrandt’s Lucreti
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APPROACHES TO THE CULTURE OF THE ED
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SIMONA ALECU external pressures hav
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SIMONA ALECU This is the reason why
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THE ROLE AND PLACE OF ECOLOGICAL ET
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VIORICA - TORII CACIUC and the Univ
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VIORICA - TORII CACIUC inscribe env
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IULIANA BARNA In the present paper,
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IULIANA BARNA cigarettes will be ex
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IULIANA BARNA References: Stanciu,
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