Translating English-Language Theatre into Spanish (1939–2019)

Table Of Contents

• Cover
• Title Page
• Copyright Page
• Dedication
• Contents
• Figures
• Tables
• Acknowledgements
• Chapter 1 Introduction
• Chapter 2 Translated theatre in Spain (1939–2019)
• 2.1. Theatre translation
• 2.1.1. Translation strategies in performance- and reader-oriented texts
• 2.1.2. The translation of prefabricated orality
• 2.2. TRACE-theatre studies (1939–1985)
• 2.2.1. (Self-)censorship under the Francoist regime
• 2.2.2. After Franco
• Chapter 3 Methodological considerations
• 3.1. Descriptive Translation Studies and the TRACE protocol
• 3.2. Corpus linguistics
• 3.3. The TEATRAD catalogue
• 3.4. The TEATRAD corpus
• Chapter 4 From the TEATRAD catalogue to the corpus
• 4.1. Survival of plays and their authors from Franco’s censorship period
• 4.2. Survival of target texts from the twentieth century
• Chapter 5 Characterization of target texts
• 5.1. The Glass Menagerie
• Gordon and de quinto_1950p
• Vázquez vigo_1978p
• Galán_2014p
• Mirlas_1951r
• Diéguez_2007r
• Espejo_2019r
• 5.1.1. Macrotextual analysis
• 5.1.2. Microtextual analysis
• a) Omission
• b) Addition
• c) Substitution
• 5.2. The Crucible
• Hurtado_1956p
• González vergel and escribano_2007p
• Muchnik and muchnik_1955r
• López muñoz_1997r
• Espejo_2011r
• 5.2.1. Macrotextual analysis
• 5.2.2. Microtextual analysis
• a) Omission
• b) Addition
• c) Substitution
• 5.3. Happy Days
• Martínez trives_1963p
• Martínez luciano_2011p
• Rodríguez gago_1989r
• 5.3.1. Macrotextual analysis
• 5.3.2. Microtextual analysis
• a) Omission
• b) Addition
• c) Substitution
• 5.4. The Lover
• Bohr_1966p
• Escobar_1966p
• Gómez and cano_2013p
• Aldeguer_2017p
• Barberá_1965r
• Spregelburd_2005r
• 5.4.1. Macrotextual analysis
• 5.4.2. Microtextual analysis
• a) Omission
• b) Additions
• c) Substitutions
• 5.5. General trends
• Chapter 6 The translation of sensitive topics
• 6.1. The Glass Menagerie
• 6.1.1. Sexual morality
• 6.1.2. Politics
• 6.1.3. Foul language
• 6.2. The Crucible
• 6.2.1. Sexual morality
• 6.2.2. Politics
• 6.2.3. Religion
• 6.2.4. Foul language
• 6.3. Happy Days
• 6.3.1. Sexual morality
• 6.3.2. Religion
• 6.3.3. Foul language
• 6.4. The Lover
• 6.4.1. Sexual morality
• 6.4.2. Foul language
• 6.5. General trends
• Chapter 7 Conclusions
• Bibliography
• Primary sources
• Secondary sources
• Index

Translating English-Language
Theatre into Spanish (1939–2019)

Olaia Andaluz-Pinedo

Oxford · Berlin · Bruxelles · Chennai · Lausanne · New York

Bibliographic information published by the Deutsche Nationalbibliothek. The German National Library lists this publication in the German National Bibliography; detailed bibliographic data is available on the Internet at http://dnb.d-nb.de.

A catalogue record for this book is available from the British Library.

Library of Congress Cataloging-in-Publication Data

Names: Andaluz-Pinedo, Olaia author

Title: Translating English-Language Theatre into Spanish (1939-2019) / Olaia Andaluz-Pinedo.

Description: Oxford ; New York : Peter Lang, 2025. | Series: New Trends in Translation Studies, 1664-249X ; volume no. 42 | Includes bibliographical references and index.

Identifiers: LCCN 2025008205 (print) | LCCN 2025008206 (ebook) | ISBN 9781800799639 paperback | ISBN 9781800799646 ebook | ISBN 9781800799653 epub

Subjects: LCSH: American drama--Translations into Spanish--History and criticism | American drama--Censorship--Spain | English drama--Translations into Spanish--History and criticism | English drama--Censorship--Spain | Censorship--Spain--History--20th century | LCGFT: Literary criticism

Classification: LCC PS161.S7 A53 2025 (print) | LCC PS161.S7 (ebook) | DDC 822.001/4--dc23/eng/20250508

LC record available at https://lccn.loc.gov/2025008205

LC ebook record available at https://lccn.loc.gov/2025008206

Cover design by Peter Lang Group AG

ISSN 1664-249X

ISBN 978-1-80079-963-9 (Print)

ISBN 978-1-80079-964-6 (ePDF)

ISBN 978-1-80079-965-3 (ePub)

DOI 10.3726/b20046

© 2025 Peter Lang Group AG, Lausanne (Switzerland)

Published by Peter Lang Ltd, Oxford (United Kingdom)

info@peterlang.com – www.peterlang.com

Olaia Andaluz-Pinedo has asserted her right under the Copyright, Designs and Patents Act, 1988, to be identified as Author of this Work.

All rights reserved.

All parts of this publication are protected by copyright.

Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems.

This publication has been peer reviewed.

To my mum, for all her light

Contents

List of Figures

List of Tables

Acknowledgements

CHAPTER 1 Introduction

CHAPTER 2 Translated theatre in Spain (1939–2019)

2.1. Theatre translation

2.1.1. Translation strategies in performance- and reader-oriented texts

2.1.2. The translation of prefabricated orality

2.2. TRACE-theatre studies (1939–1985)

2.2.1. (Self-)censorship under the Francoist regime

2.2.2. After Franco

CHAPTER 3 Methodological considerations

3.1. Descriptive Translation Studies and the TRACE protocol

3.2. Corpus linguistics

3.3. The TEATRAD catalogue

3.4. The TEATRAD corpus

CHAPTER 4 From the TEATRAD catalogue to the corpus

4.1. Survival of plays and their authors from Franco’s censorship period

4.2. Survival of target texts from the twentieth century

CHAPTER 5 Characterization of target texts

5.1. The Glass Menagerie

5.1.1. Macrotextual analysis

5.1.2. Microtextual analysis

5.2. The Crucible

5.2.1. Macrotextual analysis

5.2.2. Microtextual analysis

5.3. Happy Days

5.3.1. Macrotextual analysis

5.3.2. Microtextual analysis

5.4. The Lover

5.4.1. Macrotextual analysis

5.4.2. Microtextual analysis

5.5. General trends

CHAPTER 6 The translation of sensitive topics

6.1. The Glass Menagerie

6.1.1. Sexual morality

6.1.2. Politics

6.1.3. Foul language

6.2. The Crucible

6.2.1. Sexual morality

6.2.2. Politics

6.2.3. Religion

6.2.4. Foul language

6.3. Happy Days

6.3.1. Sexual morality

6.3.2. Religion

6.3.3. Foul language

6.4. The Lover

6.4.1. Sexual morality