An Intercultural Analysis of Iranian Dramatic Translations of in Last Two Decades (Case studies : The Mares’ Dance and Based on The Duchess of Malfi)

Document Type : Research Paper

Authors

1 Master of Dramatic Literature, Department of Dramatic Literature, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran.

2 Associate Professor, Department of Dramatic Literature, Faculty of Art and Architecture, Tarbiat Modares University, Tehran, Iran.

3 Professor, Department of Dramatic Literature, Faculty of Art & Architecture, Tarbiat Modares University, Tehran, Iran

Abstract

This research attempts to analyze the intercultural aspects in Iranian dramatic translations of last two decades on the basis of former Professor of theatre studies and theatre semioticist Patrice Pavis (born 1945) intercultural theories specially in his book ‘Theatre at the Crossroad of Cultures’ and by using some related Interdisciplinary methods. Nowadays the necessity of an intercultural theory in theatre, which does the fine-tuning between theatrical forms and academic informations, is more perceptible in multicultural communities and intercultural relations. The fine-tuning of sociosemiotics model of culture should make a relationship between theatre mise en scène and cultural context with an emphasis on translations and adaptations. This research tries to find out what changes in dramatic (performative) translations on the road from source culture to the target culture. In order to study these changes, the plays that are known as "re-readings" or “retellings” in the conventional playwriting terms and they are considered as adaptations of foreign plays are among the best cases that fit the academic discipline of the dramatic literature. In intercultural theory of theatre, all these adaptations called as dramatic translations. Two major structural models for dramatic translations which describe the intersection of situations of enunciation and the series of concretizations are used in order to analyze case studies. Besides, the definition of mise en scène in intercultural theory like french criticism tradition includes all theatrical elements and it holds them all together with specific aesthetic principles. This view of mise en scène is much more suitable for analyzing modern performances and intercultural dramatic translations, which considers participation in the process of interpretation and signification for audiences and readers. There are different typologies of mise en scène, but mise en scène of classic texts typology is used in Pavis’ intercultural theory of theatre. This typology includes three kinds of mise en scène named autotexual, ideotexual and intertextual. This research first explains the theoretical foundations of intercultural analysis using Pavis’ opinions, then it analyzes the case studies in a descriptive analytics. This study hopes it can show that these cultural changes on the context of mise en scène and the intersection of situations of enunciation, involve the series of concretizations, although at last these adaptations did not pay sufficient attention to the target culture elements. To this purpose, with taking into account the artistic eminence of the playwrights and also with considering the unchanging of the medium in the direction of dramatic translation, two plays have been selected as case study: The Mares’ Dance (Raghs-e Madian-ha) Mohammad Charmshir's retelling of the play “Yerma” by Federico Garcia Lorca, and Based on The Duchess of Malfi Naghmeh Samini and Mohammad Rezaei-Rad’s cooperation reread of the play “The Duchess of Malfi” by John Webster. This research tries to show that the first case evolved in intersection of three situations of enunciation by a autotexual mise en scène and the other one shaped in crossroad of fourteen situations of enunciation by a ideotexual mise en scène.

Keywords

References

باقری لویه، سپیده و ناهید احمدیان (۱۳۹۴)، بررسی تطبیقی آرای جامعه‌شناسی امیل دورکیم در دو نمایش‌نامه یرما و خانه برناردا آلبا نوشته فدریکو گارسیا لورکا. فصلنامه علمی-پژوهشی تئاتر، ۶۲،صص ۷۲-۹۱.
پویس، پتریس (۱۳۸۶)، نقد دراماتیک در مواجهه با میزانسن. نمایش، ۹۹ و ۱۰۰،صص ۴۲ – ۴۴.
تدین، علی (۱۳۹۵)، بوطیقای صحنه (دو جلد، چاپ اوّل)، تهران: انتشارات آگاه. ثمینی، نغمه و محمد رضایی‌راد (۱۳۹۷) براساس دوشس ملفی (چاپ اول)، تهران: بیدگل.
چرم‌شیر، محمد (۱۳۹۰) رقص مادیان‌ها؛ بازخوانی نمایشنامه یرما (چاپ دوم)، تهران: نشر نی.
حق‌روستا، مریم (۱۳۸۴) خانه برناردا آلبا: تقابل سنت با آزادی. پژوهش‌های زبان خارجی، ۲۵ ،صص ۵ – ۱۹.
خاکی، محمدرضا و محمدعلی خبری (۱۳۸۱)، پژوهش در روند آداپتاسیون در تئاتر ایران. مدرس هنر، ۲ ،صص ۱۳-۲۳.
فرشیدنیک، فرزانه و سیّد مصطفی مختاباد امرئی (۱۳۹۲)، مطالعه تطبیقی ساختار نمایشی در خانه برناردا آلبا با روایت عاشقانه‌ای از مرگ در ماه اردیبهشت و آخرین پری دریایی کوچک. مطالعات تطبیقی هنر، ۳(۶)،صص ۱-۹.
کورنگ بهشتی، رضا و محمدجواد صافیان اصفهانی (۱۳۹۴)، زبان از نظر افلاطون و هیدگر: یک بررسی مقایسه‌ای. متافیزیک. ۷ (۱۹)،صص ۴۱-۶۴.
لورکا، فدریکو گارسیا (۱۳۹۳)، یرما (چاپ اول)، ترجمه یدالله رؤیایی، تهران: افراز.
مشایخی، مهدی (۱۳۹۰) «نقد ترجمه با ابزار نشانه‌شناسی فرهنگی مطالعه موردی: آلبوم هدیه عشق» از کتاب نشانه‌شناسی فرهنگ(ی) (چاپ اول)، به کوشش: امیرعلی نجومیان. تهران: انتشارات سخن.
وبستر، جان (۱۳۹۳) دوشس ملفی (چاپ اول)، ترجمه ناهید قادری، تهران: نشر نی. هنرور، افسانه (۱۳۸۰)، کارگردان و گزینش نشانه‌ها در تئاتر. هنرهای زیبا، - (۱۰) ،صص ۷۵ – ۸۰.
Barker, Roberta (2011), “The Duchess High and Low: A Performance History of The Duchess of Malfi”, In The Duchess of Malfi: A critical guide. Edited by: Christina Luckyj, Bloomsbury Publishing. 42-65.
Bassnett, Susan (2005), Translation studies, Third Edition, Routledge, London and New York.
Bassnett, Susan (2007), “Culture and translation”, In A Companion to Translation Studies, Edited by: Kuhiwczak, Piotr, and Karin Littau, Published by Multilingual Matters, 13-23.
Budzowska, Malgorzata (2014), Postmodern Performances of Ancient Greek Tragedy (Aeschylus’ Oresteia and Euripides’ Electra), Athens Journal of Humanities & Arts, 1, 225-238.
Cave, Richard Allen (1988), The White Devil and The Duchess of Malfi: Text and Performance, Macmillan International Higher Education.
Delgado, Maria M. (2008), Federico García Lorca, Routledge, London and New York.
Desmet, Christy (2011), “A Survey of Resources”, In The Duchess of Malfi: A critical guide. Edited by: Christina Luckyj, Bloomsbury Publishing. 153-174.
Freeman, Barry (2010), Toward a Postmodern Ethnography of Intercultural Theatre: an Instrumental case-study of the Prague-Toronto-Manitoulin Theatre Project (Doctoral dissertation).
Lee, Vanessa (2012), “In Search of the Orphan”: Intercultural Theatre, Multi-Ethnic Casting, and the Representation of Chineseness on European and North American Stages. Transtext (e) s Transcultures 跨文本跨文化. Journal of Global Cultural Studies, (7)
Lei, Daphne P. (2011), “Interruption, Intervention, Interculturalism: Robert Wilson's HIT Productions in Taiwan”, Theatre Journal, 571-586.
Lin, Li-Min (2010), Transformation in Chinese Theatre Work's The Legend of White Snake (Doctoral dissertation, University of Maryland), College Park.
Luckyj, Christina (2011), “Introduction”, In The Duchess of Malfi: A critical guide. Bloomsbury Publishing. 1-13.
Male, David A (1986), The White Devil and the Duchess of Malfi by John Webster, Macmillan International Higher Education.
McIvor, Charlotte (2016), Migration and Performance in Contemporary Ireland, Palgrave Macmillan, Basingstoke.
McIvor, Charlotte (2019) “Introduction: New Directions?”, In Interculturalism and Performance Now. Edited by: Charlotte McIvor and Jason King, Palgrave Macmillan, Cham, 1-26.
Munday, Jeremy (2008) Introducing translation studies: Theories and applications, Second Edition, Routledge, London and New York.
O'Toole, Emer (2012), Rights of Representation: An Ethics of Intercultural Theatre Practice (Doctoral dissertation, University of London).
Pavis, Patrice (2003), Analyzing Performance: Theater, Dance, and Film, Translated by: David Williams. University of Michigan Press.
Pavis, Patrice (2005) Theatre at the Crossroads of Culture, Translated by: Loren Kruger, Routledge, London and New York. Pavis, Patrice, (2013) Contemporary mise en scène: Staging theatre today, Translated by: Joel Anderson, Routledge, London and New York.
Pavis, Patrice (2017) Performing Korea, Translated by: Joel Anderson, Palgrave Macmillan, London.
Postigo, Alejandro (2015), The Copla Musical: Exploring intercultural exchanges between English and Spanish musical theatre, Acotaciones, 34(2015), 53-81.
Profeta, Katherine (2015), Dramaturgy in Motion: At work on dance and movement performance, University of Wisconsin Pres.
Shih, Wen-shan (2000), Intercultural theatre: Two Beijing Opera Adaptations of Shakespeare (Doctoral dissertation). Tatlow, Antony (2001), Shakespeare, Brecht, and the Intercultural Sign. Duke University Press.
Zeltiņa, Guna and Sanita Reinsone (2013), Text in Contemporary Theatre: The Baltics within the World Experience, Cambridge Scholars Publishing.  
Journal of Fine Arts: Performing Arts & Music
Volume 27, Issue 1
March 2022
Pages 27-38

Files

Share

How to cite

Statistics