Roth, Maya E. / Freeman, Sara (eds.)
Translation & Transformations in the Theatre of Timberlake Wertenbaker
Year of Publication: 2008
Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien, 2008. 292 pp.
ISBN 978-90-5201-396-1 br. (Softcover)
Weight: 0.430 kg, 0.948 lbs
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This collection provides the first full-length investigation of the œuvre of one of Britain’s leading dramatists: Timberlake Wertenbaker. By considering the polyglot playwright’s theatre from translations and adaptations to new plays as a dynamic continuum of «translations and transformations», Maya Roth and Sara Freeman create an intriguing, focused frame for understanding Wertenbaker’s work as distinctly cross-cultural, theatrically rich, and intertextual, providing a prescient case study of the translational turn emerging in international theatre today. The contributors investigate translation theory and practice through Wertenbaker’s diverse linguistic and genre translations – from French, ancient Greek, and Italian to English, and from myth, history, classics, fairytale, and literature to the stage. Interrelated chapters by scholars and artists from varied countries, language traditions, and disciplines use performance studies, comparative literature, feminist theory, and cultural anthropology to position Wertenbaker’s theatre as a critical nexus for analyzing – and imagining – cross-historical dialogues with contemporary audiences and our plural legacies.
Thanks to its substantive engagement with the ethics, theories, and collaborative practices of theatrical translation and adaptation more broadly, and its equally rigorous examination of Wertenbaker’s hybridic politics and poetics, this collection can serve as a useful resource for scholars and artists, both.
Contents: Maya E. Roth/Sara Freeman: Preface – Maya E. Roth: Wertenbaker & Translations in Theatre – Timberlake Wertenbaker: First Thoughts on Transforming a Text – Victoria Pedrick: Ismene’s Return from a Sentimental Journey: Translation Strategies in Timberlake Wertenbaker’s Dianeira and Antigone – Sara Freeman: Group Tragedy and Diaspora: New and Old Histories of Exile and Family in Wertenbaker’s Hecuba and Credible Witness – Erith Jaffe-Berg: Rescuing Les Italiens from Marivaux: Timberlake Wertenbaker’s Translation – Christopher Swanson: Translations and Transmutations: Timberlake Wertenbaker’s Mephisto – Kristine Johanson: «Only the Mystery»: Transforming Fairy Tales and the (Un)Known Self in The Ash Girl – Kristin Johnsen-Neshati: Chekhovian Transformation: Three Sisters and Timberlake Wertenbaker’s The Break of Day – Sheila Rabillard: Translating the Past: Theatrical and Historical Repetition in Wertenbaker’s The Break of Day – Maya E. Roth: Engaging Cultural Translations: Timberlake Wertenbaker’s History Plays from New Anatomies to After Darwin – Kate Bligh: Oppositional Symmetries: An Anthropological Voyage through Our Country’s Good & The Poetics – Margaret F. Savilonis: Value, Voice, and Identity in Three Birds Alighting on a Field – Ann Wilson: Dianeira, Anger, and History – Jay M. Gipson-King: Wertenbaker and the Metahistorical: Fracturing History in The Grace of Mary Traverse, Love of the Nightingale & After Darwin – Maya E. Roth: From Euripides to Racine with Timberlake Wertenbaker: An Interview with Carey Perloff – Sara Freeman: A Nightingale on the Nile: An Interview with Dalia Basiouny – Molly Smith: The Thebans in Alaska: Translation, Community & Diversity – Sara Freeman: The Translatorial Consciousness.
About the author(s)/editor(s)
The Editors: Maya E. Roth fills an endowed professorship in Theater & Performance Studies at Georgetown University, where she was Program Director 2003-07. She teaches culture and performance, world theater history, and dramaturgy. An expert on the work of Timberlake Wertenbaker, she also publishes on spatiality and feminist performance in Anglophone drama. She served as the first Artistic Director of the Davis Center at Georgetown and received her Ph.D. from the University of California, Berkeley in 2001.
Sara Freeman is Assistant Professor of Theatre at the University of Oregon. She teaches theatre history, dramatic literature, and dramaturgy. She publishes about the history of British alternative theatre and contemporary women playwrights and is the 2007 recipient of an honorable mention from the American Society of Theatre Research’s Gerald Kahan Scholars Prize for an article in Theater Survey. She received her doctorate from the University of Wisconsin-Madison in 2002.
Dramaturgies. Texts, Cultures and Performances. Vol. 23
General Editor: Marc Maufort