- Italian Merchants Abroad and the Use of Foreign Languages, 14th-16th Centuries
- Il fantastico femminile: una questione di genere
- Centre Stage Series: Rehearsing Translation
- Il "New Italian Realism": genesi, caratteri, dibattito (2008-2013)
- L'ermetismo: una generazione
- Centre Stage Series: Commedia dell’Arte: From Street to Salon
- Centre Stage Series: Not Pierrot, More Pirandello!
- "Porte aperte": la mafia, il fascismo e la polizia negli anni Trenta
- Fascism’s Mediterranean Empire: Occupation, Governance and Italian Colonial Modernity in the Dodecanese Islands (1923-43)
- Centre Stage- Homage to Franca Rame: Actress, Writer, Activist
- From Phantasmagoria to Science!
- An Appointment with Dante
- Combating Ransom Kidnapping in Modern Italy: Magistrates, Memoirs, Media
- Lampedusa: Migratory Space, Memory and Aesthetics
- Le parole tra gli uomini
- From the Grotesque to the Galilean: Margherita Costa and the Spectacle of Baroque Female Dramaturgy
- Letteratura italiana e Riforma protestante: un incontro impossibile?
- Le epigrafi di Poggio Mirteto: la scoperta di una lauda di inizio Trecento
Centre Stage Series: Rehearsing Translation
Publication date: Jan 31, 2014 1:44:25 PM
Start: Feb 13, 2014 6:00:00 PM
Location: Room 432, SSEES, 16 Taviton Street, London, WC1H 0BW
A work demonstration exploring rehearsal-centred translation in LegalAliens' production of The Return by Sergio Pierattini.
Unlike poems or novels, plays come to life only when they are inhabited and spoken aloud by a group of performers. LegalAliens' method of working emphasises the importance of the rehearsal process to the development of a final performance text. Through the performance of scenes (in Italian and English) drawn from different stages of the journey, LegalAliens' Lara Parmiani and Becka McFadden will discuss the process of translating Sergio Pierattini's Il Ritorno (The Return) with playwright Matt Morrison and a company of bilingual, London-based Italian actors.
This practice-based talk will also explore the opportunities this method presents not only to produce a translation that captures the rhythm of the source text, but also to engage the embodied cultural capital of the performer as co-translator, thus avoiding the trap of "stage nationalities" and suggesting a new paradigm for the portrayal of complex and contemporary European identities on London stages.
Chaired by Eva Daníčková (Dramaturgs' Network)