Translating for performance is a difficult – and hotly contested – activity. Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across these boundaries, exploring common themes and issues encountered when writing, staging, and researching translated works. It is organised into four parts, each reflecting on a theatrical genre where translation is regularly practised: The Role of Translation in Rewriting Naturalist Theatre Adapting Classical Drama at the Turn of the Twenty-First Century Translocating Political Activism in Contemporary Theatre Modernist Narratives of Translation in Performance A range of case studies from the National Theatre’s Medea to The Gate Theatre’s Dances of Death and Emily Mann’s The House of Bernarda Alba shed new light on the creative processes inherent in translating for the theatre, destabilising the literal/performable binary to suggest that adaptation and translation can – and do – coexist on stage. Chronicling the many possible intersections between translation theory and practice, Adapting Translation for the Stage offers a unique exploration of the processes of translating, adapting, and relocating work for the theatre.
In today's theatre, productions of plays that originated in another language are frequently distinguished by two characteristics: the authorship of the English text by a well-known local theatre specialist, and the absence of the term 'translation'-generally in favour of 'adaptation' or 'version'. The Translator on Stage investigates the creative processes that bring translated plays to the mainstream stage, exploring the commissioning, translation and development procedures that end with a performed play. Through a sample of eight plays that span two thousand years and six languages-including Festen, Don Carlos, Hedda Gabler and The UN Inspector-and that were all staged within a three-month period, Geraldine Brodie brings in a wide range of theatre practitioners to discuss their roles in the translation process and the motivations that govern London theatre translation activities. The Translator on Stage is informed by specially conducted interviews with the productions' producers, artistic directors, directors, literary managers, playwrights and specialist translators, including Michael Grandage, Rufus Norris, David Eldridge, Juan Mayorga, David Johnston and Mike Poulton. It sheds new light not only on theatrical translation procedures, but also on the place of translation in society today.
This book explores the professional, civic, and personal roles of women teachers throughout American history. Its themes and findings build from the mostly unpublished writings of many women. Clifford studied personal history manuscripts in archives and consulted printed autobiographies, diaries, correspondence, oral histories, interviews to probe the multifaceted imagery that has surrounded teaching. This work surveys a long past where schoolteaching was essentially men's work, with women relegated to restricted niches such as teaching rudiments of the vernacular language to young children and socializing girls for traditional gender roles.
Abigail and Beatrix have been adopted by the Malefics, a famous inventor family, after a short stay in the Skipping girl Home for Wayward and Homeless girls in Melbourne. Zarah sets out to be reunited with them, but when she gets to the Malefic Mansion she is disturbed to find that her sisters are nowhere to be seen. Where are Zarah’s sisters? Why have other children been disappearing? And what do these happenings have to do with the Malefics’ latest invention, The Library of Wonder?
In today's theatre, productions of plays that originated in another language are frequently distinguished by two characteristics: the authorship of the English text by a well-known local theatre specialist, and the absence of the term 'translation'-generally in favour of 'adaptation' or 'version'. The Translator on Stage investigates the creative processes that bring translated plays to the mainstream stage, exploring the commissioning, translation and development procedures that end with a performed play. Through a sample of eight plays that span two thousand years and six languages-including Festen, Don Carlos, Hedda Gabler and The UN Inspector-and that were all staged within a three-month period, Geraldine Brodie brings in a wide range of theatre practitioners to discuss their roles in the translation process and the motivations that govern London theatre translation activities. The Translator on Stage is informed by specially conducted interviews with the productions' producers, artistic directors, directors, literary managers, playwrights and specialist translators, including Michael Grandage, Rufus Norris, David Eldridge, Juan Mayorga, David Johnston and Mike Poulton. It sheds new light not only on theatrical translation procedures, but also on the place of translation in society today.
The memoirs and accounts of the Black educator are presented with letters, speeches, personal documents, and other writings reflecting his life and career.
Mayfair is at the present time the most fashionable part of London, so much so that the name has come to be a synonym for wealth or pride of birth. Yet it was not always so, as he who runs may read, for the derivation is simple enough, and differs from most cases in that the obvious meaning is the right one. In James II.'s reign a permission was given for a fair to be held on the north side of Piccadilly, to begin on the first day of May, and to last for fifteen days. This fair, we are told, was "not for trade and merchandise, but for musick, showes, drinking, gaming, raffling, lotteries, stageplays and drolls." It was immensely popular, and was frequented by "all the nobility of the town," wherein, perhaps, we see the germs of the Mayfair we know. It must be remembered that Grosvenor and Berkeley Squares, with their diverging streets, were not then begun, and that all this land now covered by a network of houses lay in fields on the outskirts of London, while Hyde Park Corner was still the end of the world so far as Londoners were concerned. It was about the end of the seventeenth century that the above-mentioned squares were built, and at once became fashionable, and as the May fair continued to flourish until 1708, it must have seen the growth of the district to which it was to give its name. Though suppressed, doubtless on account of disorders, it revived again, with booths for jugglers, prize-fighting contests, boxing matches, and the baiting of bears and bulls, and was not finally abolished until the end of the eighteenth century. But Mayfair is not the only district to be noticed; we have also its rival—Belgravia—lying south of Hyde Park Corner, which is equally included in the electoral district of St. George's, Hanover Square. This electoral district takes in the three most fashionable churches in the Metropolis, including the mother church, St. Paul's, Wilton Place, and St. Peter's, Eaton Square, besides many others, whose marriage registers cannot compete either in quantity or quality of names with these three. The district can also show streets as poor as some are rich; it includes not only Park Lane and Piccadilly, but also Pimlico and the dreary part to the south of Buckingham Palace Road. It is a long, narrow district, stretching from the river to Oxford Street. As a parish, St. George's was separated from St. Martin's in 1724, and it is now included in the city of Westminster, with which it has been associated from its earliest history. In the charter given by King Edgar to the monks at Westminster, their possessions were defined as reaching to the highroad we now call Oxford Street on the north, and to Tyburn Lane, or Park Lane, on the west. But of this the parishes of St. Margaret and St. John at Westminster were the City, and the rest lay in the "Liberties." The larger portion of the district is included in the ancient estate of Eia, 890 acres in extent, reaching from the Bayswater Road to the Thames, which was given by William the Conqueror to Geoffrey de Mandeville, who at his death bequeathed it to the Abbey of Westminster. In Domesday Book it is divided into three manors of Hyde, Ebury, and Neyte. Of these the first occupies the site of Hyde Park; Ebury, from Knightsbridge to Buckingham Palace Road; Neyte, nearer the river, was the favourite residence of the Abbots. Here John of Gaunt lived, and here, in 1448, John, son of Richard, Duke of York, was born.
Eating disorders such as anorexia and bulimia are increasingly prevalent in today's society and of great concern to a wide range of health-related professionals, including counsellors and psychotherapists. This important new text, written in an intelligent yet accessible style, provides an authoritative and practical introduction to therapeutic work with this large client group. Taking a psychodynamic approach, Working with Eating Disorders also embraces an appreciation of cultural influences and uniquely illustrates the context of eating disorders in today's society.
Leadership in the early years is about using your knowledge, skills, personality and experience to positively influence practice. Every practitioner has the capacity to lead, and in doing so, improve opportunities for children and their families. Examining the various roles of early years practitioners, and the everyday challenges and opportunities they face, this book promotes leadership of early childhood practice by considering the following; · Who the leaders are, and what skills they require · The variety of ways a practitioner can lead within a setting · Key roles including the team leader and the key person · How to develop a culture of leadership · The importance of working with families and other professionals · Improving leading through reflective practice. Whether you are a room leader in an early childhood setting needing support in your leadership skills, a manager of an early childhood business, a leader of a nursery, a leader of practice or studying to become an early years practitioner this book is ideal for helping you improve your leadership skills.
Where did professional social work originate from? How effective are social work interpretations in the lives of vulnerable people? A Textbook of Social Work provides a comprehensive discussion of social work practice and its evidence-base. It strikes a balance between the need for social workers to understand the social, economic, cultural, psychological and interpersonal factors which give rise to clients’ problems, and the need for them to know how best to respond with practical measures. Divided into three parts: the text covers the history and of social work as a movement and profession in the first, and social work methods and approaches in the second. The final part looks at the major specialisms, including, among others, chapters on: Children and families Youth Offenders and substance misusers Social work and mental health Disabled people Older People Providing a comprehensive guide to conceptual and methodological issues in social work and containing plentiful case studies and examples, this book is an essential read for social work students, as well as a valuable resource for practitioners and academics.
Translating for performance is a difficult – and hotly contested – activity. Adapting Translation for the Stage presents a sustained dialogue between scholars, actors, directors, writers, and those working across these boundaries, exploring common themes and issues encountered when writing, staging, and researching translated works. It is organised into four parts, each reflecting on a theatrical genre where translation is regularly practised: The Role of Translation in Rewriting Naturalist Theatre Adapting Classical Drama at the Turn of the Twenty-First Century Translocating Political Activism in Contemporary Theatre Modernist Narratives of Translation in Performance A range of case studies from the National Theatre’s Medea to The Gate Theatre’s Dances of Death and Emily Mann’s The House of Bernarda Alba shed new light on the creative processes inherent in translating for the theatre, destabilising the literal/performable binary to suggest that adaptation and translation can – and do – coexist on stage. Chronicling the many possible intersections between translation theory and practice, Adapting Translation for the Stage offers a unique exploration of the processes of translating, adapting, and relocating work for the theatre.
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