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Translation, Adaptation, Otherness: 'Foreignisation' in Theatre Practice

翻译、改编、他者：戏剧实践中的“异化”

基本信息

批准号：
AH/N005740/1
负责人：
Margherita Laera
金额：
$ 25.23万
依托单位：
University of Kent
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN005740%2F1
关键词：
Translation Adaptation Otherness Foreignisation Theatre

项目摘要

According to the British Theatre Repertoire Survey, in 2013 only 3.2% of all the plays performed in the UK were in translation, and yet according to the Migration Observatory, 12.5% of UK residents are foreign-born, only 80% of the population identifies as 'white British' and hundreds of languages are spoken in the country's schools, especially in London. The lack of diversity in British theatres is highlighted in a 2014 Arts Council England report, stating: 'It is vital that the arts and cultural workforce becomes more representative of the society it serves' (p. 1). This two-year project argues that translation has a key role to play in fostering equality in the performing arts. In order to make British theatres attractive to, and representative of, a more diverse audience, this project proposes to further, and widen awareness of, existing debates on the ethics and politics of translation among practitioners, industry professionals, translators, audiences, students and scholars. At a time when immigration is at the centre of the political agenda and nationalist, anti-European sentiments are on the rise, theatre translation and the representation of otherness on stage can offer a public arena for intercultural dialogue. The Fellow aims to carry out research and public engagement activities that place the politics of translation and the representation of otherness through theatre in the public eye. The research will investigate questions such as: What are the current dominant translation/adaptation strategies in theatre? What constitutes a 'foreignising' approach to theatre translation/adaptation? Can the same approach work for different kinds of sources? What are the effects of 'foreignisation' on performance and mise en scène? How is a 'foreignising' translation draft negotiated by theatre-makers in the rehearsal room? How do audiences respond to it? Translation scholar Lawrence Venuti champions the translation strategy he calls 'foreignisation', as a as opposed to 'domestication', in that the former tries to limit the degree to which the unfamiliar is forcibly turned into the familiar, silencing cultural difference. Despite the recent academic interest in 'foreignisation', theatre studies still lack a debate on what a 'foreignising' approach to stage translation would mean for text and performance, and whether theatre - as opposed to literature - requires a distinctive approach. The question of how current theatre training and ideological beliefs influence translation practices in British theatres is also underexplored, and so is the notion of a 'foreignising' approach to adaptation. Meanwhile, the theatre industry tends to take 'domestication' for granted in an attempt to appeal to the widest possible audience, dismissing 'foreignisation' as a clumsier, riskier, yet untested alternative. The Fellow and her collaborators will select three plays for translation by playwrights based in Europe and writing in Polish, Spanish and French - representing three of the most spoken European migrant languages in the UK - and organise practice-as-research workshops with professional performers and creative collaborators, led by scholar-translators, to test 'foreignising' strategies. The Fellow and her Research Associate will carry out qualitative research during and after the creative process with performers and audiences. Each workshop will present their outcome to the public in the form of rehearsed readings at the Gate Theatre in London in May and June 2016. Each performance will be followed by a post-show debate. Taking place in the run-up to the in/out referendum on Britain's membership of the EU during what will be one of the most crucial political debates of recent times, the Fellow aims to widen the reach the project by working with our consultants, Firehouse Creative Productions, to develop one of the plays into full production for the Edinburgh Fringe in 2017.

根据英国剧院剧目调查，2013年在英国演出的所有戏剧中只有3.2%是翻译的，但根据移民观察站的数据，12.5%的英国居民是在外国出生的，只有80%的人口被认为是“白色英国人”，该国的学校使用数百种语言，特别是在伦敦。2014年英国艺术理事会的一份报告强调了英国剧院缺乏多样性的问题，该报告指出：“艺术和文化工作者必须更加代表其所服务的社会”（第1页）。这个为期两年的项目认为，翻译在促进表演艺术中的平等方面发挥着关键作用。为了使英国剧院对更多样化的观众具有吸引力和代表性，该项目建议进一步扩大对从业人员，行业专业人员，翻译人员，观众，学生和学者之间关于翻译伦理和政治的现有辩论的认识。在移民成为政治议程的中心，民族主义和反欧洲情绪上升的时候，戏剧翻译和在舞台上表现他者可以为文化间对话提供一个公共竞技场。该研究员旨在开展研究和公众参与活动，将翻译的政治和通过戏剧在公众眼中的他者性的表现。研究将探讨的问题，如：什么是目前占主导地位的翻译/改编策略在戏剧？什么是戏剧翻译/改编的“异化”方法？同样的方法能适用于不同类型的源吗？“异化”对表演和场景的影响是什么？在排练室里，戏剧制作人是如何协商出一份“异化”的翻译稿的？观众如何回应？翻译学者劳伦斯·韦努蒂（Lawrence Venuti）支持他称之为“异化”的翻译策略，作为“归化”的相对物，因为前者试图限制不熟悉的东西被强行转化为熟悉的东西的程度，从而压制文化差异。尽管最近学术界对“异化”产生了兴趣，但戏剧研究仍然缺乏关于舞台翻译的“异化”方法对文本和表演意味着什么的辩论，以及戏剧-而不是文学-是否需要一种独特的方法。目前的戏剧训练和意识形态信仰如何影响英国剧院的翻译实践的问题也未得到充分探讨，因此是一个“异化”的适应方法的概念。与此同时，戏剧业倾向于将“本土化”视为理所当然，试图吸引尽可能多的观众，而将“外国化”视为一种笨拙、风险更大、未经考验的选择。该研究员和她的合作者将选择三个剧本由总部设在欧洲的剧作家翻译，并以波兰语，西班牙语和法语写作-代表英国最常用的三种欧洲移民语言-并与专业表演者和创造性合作者组织实践研究研讨会，由翻译人员领导，以测试“异化”策略。研究员和她的研究助理将在创作过程中和之后与表演者和观众进行定性研究。每个工作坊都将于2016年5月和6月在伦敦的门剧院以排练朗读的形式向公众展示他们的成果。每场演出后都会有一场辩论。发生在什么将是最近最重要的政治辩论之一的英国的欧盟成员国的在/出公投的准备阶段，该研究员的目标是通过与我们的顾问合作，扩大该项目的影响力，消防队创意制作，在2017年为爱丁堡艺穗节开发一部戏剧。