Drama Translation
3
THE THEORY OF TRANSLATION OF A DRAMATIC TEXT
In general, translation is “rendering the meaning of a text into another language
in the way that the author intended the text.” (Newmark 1988, p.5)
However, the mission of a translator of a dramatic work is slightly different from any other literary piece. A dramatic text is written in order to be performed on stage. The
translator of such a text has therefore to bear in mind that the readers (i.e. the audience in this case) shall not only follow the written form of the script but also and primarily its
spoken version. This fact influences the work of a translator to a great extent. He has to chose words that are easily pronounceable by actors and comprehensible to the audience. At the same time he ought to aspire to maintain the meaning and form of the
original as much as possible so that the translation represents the goal and effort of the original author. Each translator aims at a maximal realistic authenticity, including both the inner (author’s and director’s notes) and outer language of the drama.
“Translation, the surmounting of the obstacle, is made possible by an equivalence of thought which lies behind the different verbal expressions of a thought. No doubt this equivalence is traceable to the fact that men of all nations belong to the same species.
When an Englishman is thinking of the woman whom he describes as ‘my mother’, a
Frenchman is thinking of ma mère and a German of meine Mutter. Among normal people the three thoughts will be very similar and will recall the same memories of tenderness, loving care and maternal pride. In consequence ‘my mother’ can be perfectly translated by ma mere or meine Mutter.” (Savory 1957, p.11)
Savory (Savory 1957, p.49) furthermore states twelve rules of a proper translation:
1.
A translation must give the words of the original
3.
A translation should read like an original work.
2.
4.
5.
6.
7.
8.
9.
10.
11.
A
THE THEORY OF TRANSLATION OF A DRAMATIC TEXT
In general, translation is “rendering the meaning of a text into another language
in the way that the author intended the text.” (Newmark 1988, p.5)
However, the mission of a translator of a dramatic work is slightly different from any other literary piece. A dramatic text is written in order to be performed on stage. The
translator of such a text has therefore to bear in mind that the readers (i.e. the audience in this case) shall not only follow the written form of the script but also and primarily its
spoken version. This fact influences the work of a translator to a great extent. He has to chose words that are easily pronounceable by actors and comprehensible to the audience. At the same time he ought to aspire to maintain the meaning and form of the
original as much as possible so that the translation represents the goal and effort of the original author. Each translator aims at a maximal realistic authenticity, including both the inner (author’s and director’s notes) and outer language of the drama.
“Translation, the surmounting of the obstacle, is made possible by an equivalence of thought which lies behind the different verbal expressions of a thought. No doubt this equivalence is traceable to the fact that men of all nations belong to the same species.
When an Englishman is thinking of the woman whom he describes as ‘my mother’, a
Frenchman is thinking of ma mère and a German of meine Mutter. Among normal people the three thoughts will be very similar and will recall the same memories of tenderness, loving care and maternal pride. In consequence ‘my mother’ can be perfectly translated by ma mere or meine Mutter.” (Savory 1957, p.11)
Savory (Savory 1957, p.49) furthermore states twelve rules of a proper translation:
1.
A translation must give the words of the original
3.
A translation should read like an original work.
2.
4.
5.
6.
7.
8.
9.
10.
11.
A