This exploration of the territory between theory and practice in contemporary theatre features essays by academics from theatre and translation studies, and delineates a new space for the discussion of translation in the theatre that is international, critical and scholarly, while rooted in experience and understanding of theatre practices.

Autorentext
JACK BRADLEY, Visiting Lecturer, Newcastle University, UK YOTAM BENSHALOM, Independent Scholar, UK FRED DALMASSO, Independent Scholar, UK MEGAN EVANS, Lecturer in Theatre, Victoria University of Wellington, New Zealand CLARE FINBURGH, Lecturer in Modern Drama and European Literature, University of Essex, UK DAVID JOHNSTON, Head of the School of Languages, Literatures and Performing Arts, Queen's University Belfast, UK LOUISE LADOUCEUR, Professor of Theatre, University of Alberta's Campus aint-Jean, Canada ANTHONY MEECH, Senior Lecturer in Drama, University of Hull, UK KATHERINE MENDELSOHN, Literary Manager at the Traverse Theatre, Edinburgh, UK JONATHAN METH, Associate Tutor, Goldsmith's College, University of London, UK TERESA MURJAS, Lecturer in Theatre, University of Reading, UK NICOLE NOLETTE, Independent Scholar, Canada SIOBHÁN ROCKS, Independent Scholar, UK MARGARET ROSE, Lecturer in Theatre Studies and British Literature, Milan State University, Italy ZOË SVENDSEN, Research Fellow in Drama and Performance, University of Cambridge, UK CAROLE-ANNE UPTON, Professor of Drama, University of Ulster, UK ALAIN WOLF, Lecturer in Translation Studies and French language, University of East Anglia, UK

Inhalt
Acknowledgements Notes on contributors Introduction; C.Marinetti, M.Perteghella & R.Baines PART I: EXPLORATIONS AND EXPERIMENTS IN THEORY AND PRACTICE 'Metaphor and metonymy: the translator-practitioner's visibility'; D. Johnston 'The Translator as metteur en scène, with reference to Les Aveugles [The Blind] by Maurice Maeterlinck'; C.-A. Upton 'Musical realisations: a performance-based translation of rhythm in Koltès' Dans la solitude des champs de coton'; R. Baines & F. Dalmasso 'The Theatre sign language interpreter and the competing visual narrative: the translation and interpretation of theatrical texts into British Sign Language'; S. Rocks 'Inferential meaning in Drama Translation: the role of implicature in the staging process of Anouilh's Antigone'; A. Wolf PART II: PRACTICAL PERSPECTIVES ON TRANSLATION, ADAPTING AND STAGING 'Translating bodies: replication as a tool for translation and adaptation of Chinese xiqu plays'; M. Evans 'The Threepenny Opera for the National Theatre - a 3p opera?'; A. Meech Chapter 3: 'The translator as cultural promoter, or how Renato Gabrielli's Qualcosa Trilla went on the road as Mobile Thriller'; M. Rose & C.Marinetti 'La Parole bilingue en traduction: performing bilingual plays for Francophone audiences'; L. Ladouceur & N. Nolette PART III: IN CONVERSATION WITH PRACTITIONERS Interview with Christopher Hampton; R. Baines & M. Perteghella 'Not Lost in Translation'; J. Bradley Roundtable on collaborative theatre translation projects: experiences and perspectives; J. Meth, K. Mendelsohn,& Z. Svendsen PART IV: POLITICS, ETHICS AND STAGE TRANSLATION 'The Impotents: politics imposed upon the creation and reception of an Arabic to Hebrew translation for the stage'; Y. Benshalom 'Translating contemporary French theatre: how 'linguistic translation' becomes 'stage translation''; C.Finburgh 'Translating and directing the plays of Gabriela Zapolska'; T. Murjas Index