Katja Krebs, théoricienne du spectacle vivant, dialoguera avec Julia Perazzini, auteure et metteure en scène suisse dont les performances solo sont présentées à l’étranger en version surtitrée. Quelles difficultés rencontre ce type de transfert ? Quels effets nouveaux se produisent sur scène et dans le public ?
Séance en partenariat avec le Théâtre de Liège
Répondante: Nancy Delhalle (ULiège, UR Traverses, directrice du CERTES)
Translation and Performance can be approached in a number of different ways: for example, as aconsideration of the relationship between translation as a tool to measure performance in the context of language learning whereby translation as assessment can, apparently, provide insight into language competency; or as a consideration of the relationship between translation and ideology whereby ideological positionings are performed by translational processes and products. What this paper, however, is concerned with is not so much the action of performing the task or function of translation but rather the act of presenting and making use of translation within a performance, i.e. in a theatrical context. More precisely, this paper will focus on the relationship between the performance of the other and the translation of the self as well as the performance of the self and the translation of the other by investigating a number of performance, or rather theatrical, examples which are based upon a very specific understanding of translation as an invisible process.
The paper will explore various relationships between translation and performance ranging from invisible translation in and as performance which strives for authenticity, via pseudo-translation as performance by way of simulacrum of the exotic, to the comic-rebuttal of both through audience complicity. Starting with an analysis of the role translation plays in the performance of Chung Ling Soo aka William Elsworth Robinson (1861-1918), who can be seen as a prime example of invisible translation in and as performance, I will also investigate instances of performance of translation which seem to offer a certain proximity to alterity in acts such as the Neapolitan Cabaret, and will end with an examination of the comic rebuttal of both through audience complicity in performances such as those by Dante, international man of mystery.
Dr. Katja Krebs is Senior Lecturer in Theatre and Performance at the University of Bristol in the U. K., and her research is mainly concerned with the relationships between translation, adaptation and reception. Focusing on European Theatre History, with particular emphasis on British performance histories, her work is particularly concerned with the relationship between adaptation and translation practices, products and concepts, and the construction of dramatic traditions. Related research interests include pan-European theatre exchanges, and the investigation of translation as performative practice. She has published widely on the relationship between translation and adaptation in performance and is one of the co-founders of the Journal of Adaptation in Film and Performance.
Recent publication include:
- (forthcoming 2018), Adaptation and Translation, Basic Themes in Literary Studies: Adaptation. Kraemer, L. & Emig, R. (eds.). DeGruyter Mouton, Vol. 7
- (forthcoming 2018), Adapted Identities : Translating the Foreign, in Routledge Companion to Adaptation. Cut
chins, D., Krebs, K. & Voigts, E. (eds.). Abingdon: Routledge
- (2015) Theatrale Kompetenz in der Dramenübersetzung, in Übersetzung als Kulturvermittlung: Translatorisches Handeln. Neue Strategien. Didaktische Innovation. Badstüber-Kizik, C., Fišer, Z. & Hauck, R. (eds.). Frankfurt am Main: Peter Lang, p.189-202
- (2014) Ghosts we have seen Before: Trends in Adaptation in Contemporary Performance, in Theatre Journal. 66, 4, p.581-590