« Je n’ai pas le temps d’écrire. Parler, ça va plus vite » : la mécanique lyrique et le monologue extérieur d’Olivier Cadiot au défi de la traduction
Keywords:theatrical translation, collaborative translation, contemporary French dramaturgy, Olivier Cadiot, Fairy Queen, stylistic analysis
The aim of this paper is reporting an experience of theatrical translation that lies halfway between translation theory and practice. The project «Tradurre per la scena» is the result of a partnership between three institutions in the city of Bari – the Alliance française, the Kismet OperA theatre and the former Dipartimento di Lingue e Letterature Romanze e Mediterranee of the University.
In 2008, a theatre translation team was formed at the University department to work on an Italian version of Olivier Cadiot’s Fairy Queen (P.O.L., 2002). The team thus confronted on the many problems posed in the play translation due to the author’s unbridled writing: diverse issues concerning rhythm, speed, voice, tone, wordplay, etc. Beyond the actual translation experience, the team participants had the opportunity to meet the directors and actors responsible for performing Cadiot’s text, but also to attend rehearsals and to make corrections to the translation prepared during the group translation sessions. The play, in fact, was not only represented on stage. The Italian text was published in a bilingual edition in a collection specifically created by the University department. The author of this paper believes that an illustration of this experience could be of interest to specialists in theatrical translation for several reasons: a) because it brings into play a wide range of cultural skills (linguistic, stylistic, dramaturgical, semiotic, pedagogical, etc.); b) because it constitutes one of the rare examples of collective translation, and moreover in a field that has been rather neglected by theoretical reflection; c) because it offers the rare opportunity to follow the ideally complete path of a foreign play from the stage to the publisher; d) because it closely examines the complexity of the relationship between the translator and the playwright, the actor, and even the author.
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