To celebrate the vitality of classical themes in new work, PAC invites
playwrights to submit for consideration for our third annual New Ventures Play
Festival. The theme for the plays is The Evolution of Human Rights
5 plays of no more than 10 minutes each will be selected for a staged reading
during our festival taking place in June at the Proscenium Theatre at the
Drake.
***
Over the next two years InterAct will commission three plays to be written
about and with Philadelphia communities that are under-represented on local
(and national) stages.
The first of the three Philly Cycle commissions will focus on the city’s
community of African American Muslims, which numbers around 200,000. We are
seeking U.S.-based playwrights who would be interested in spending time in
conversation with this community and telling a singular story that centers this
community.
***
Currently Seeking 10-Minute Plays & Monologues for Smith & Kraus
Publications
• Monologues must be from plays. They cannot be stand-alone pieces.
• They must be from plays produced between April 2022 and July 2023.
• Staged Readings performed live or virtually will be accepted only if the
readings occurred in the above-mentioned window will be accepted.
• Monologues should be from 1-3 minutes long.
• Monologues should be active pieces that work well for auditions.
• Please include a descriptive blurb containing a brief summary of the play;
the name/age of the character; to whom the character is speaking, and the
dramatic context of the scene.
*** FOR MORE INFORMATION about these and other opportunities see the web site
at https://www.nycplaywrights.org
***
*** TRANSLATING PLAYS ***
How does one translate “Hamilton” into another language? That was the challenge
facing Sera Finale, a rapper-turned-songwriter, and Kevin Schroeder, a seasoned
musical theater translator, when they were asked to collaborate on a German
version of the show — the first in a language other than English.
The project turned out to be just as complicated as they had feared: complex
rhyme schemes, elaborate wordplay and so many songs. There were drafts and
demos and revisions; a member of the “Hamilton” music team, Kurt Crowley,
learned German to help coordinate the process, and ultimately Lin-Manuel
Miranda, the show’s creator, had to approve or reject each line.
More...
https://www.nytimes.com/2022/09/14/theater/hamilton-translation-german.html
***
I began translating plays in 2002. I was a jobbing actor, euphemistically
“resting,” and looking for a way to stay creative and to make use of my
languages degree. So I went to the London Instituto Cervantes (the Spanish
cultural center), found their library, headed for its tiny theater section, and
plucked a title out from the shelf. It was Primavera (Springtime) by Julio
Escalada, a Spanish actor, playwright and, today, professor of playwriting at
the RESAD, Spain’s royal academy of dramatic art. I liked the feel of the
play—a restless farce of interwoven love triangles—and I translated it. Then,
since I had a translation, I figured I may as well do something with it, so I
contacted Julio and sought his permission to produce the play at the Finborough
Theater, an off-West-End above-a-pub venue famed then and now for its
commitment to new work.
More...
https://wordswithoutborders.org/read/article/2016-12/december-2016-translating-theater-feature-william-gregory/
***
American audiences don’t get access to many contemporary plays originally
written in another language despite the burgeoning number of talented
playwrights in the US and around the world who are creating work for the stage
in languages other than English.
Traditionally, classic European plays such as those written by Moliere, Henrik
Ibsen and Anton Chekhov are the only works regularly presented. There’s an
ongoing fear that Americans won’t be able to relate to or understand
transcultural and international work. There’s also the question of how much all
this costs.
One of the ways to help change hearts and minds is the indispensable effort of
translators who work in the theater. Their work is often unsung and
misunderstood.
More...
https://witonline.org/2022/08/08/finding-meaning-in-translating-words-and-culture/
***
In the globally interconnected community in which we exist, translation has
become a part of our daily life. We listen to songs whose lyrics we have to
look up in order to sing, we watch movies that have been subtitled, and we read
books written in languages we cannot even begin to understand. That is all to
say, translation surrounds us, and we must navigate a world that depends on it.
However, I always thought about translation as a solely linguistic endeavor
that transformed one language into another and failed to see it as a process
that also bridges chronological divides. These divides are apparent when
thinking of ancient texts. Still, these did not quite count in my head since,
well, no one speaks Latin or ancient Greek beyond an academic setting, and the
translation of these texts is not only helpful but necessary for people to
access them. The chronological divides that I would encounter through the
process of translating “Los novios aburridos”, a short play written and
published in Spanish in 1817, were much subtler, though.
More...
https://blogs.library.jhu.edu/2022/08/meet-our-freshman-fellows-elena-echavarria-on-translating-an-untranslated-spanish-play-2/
***
What’s the difference between translating non-fiction and translating plays?
When you translate non-fiction, you have to put yourself in the shoes of French
readers. It is the context of the reader you need to consider, the context of a
reader who does not know Martinelli. For Aristophane dans les banlieues.
Pratiques de la non-école, I sometimes eliminated passages that contained
references that would have been meaningless to French-speaking readers, but I,
of course, always discuss this first with the author, with whom I can luckily
work very closely. I also added a chapter on Martinelli’s experiences in Kenya
with the non-school, basing it on an interview I had done with him. At the end
of the book, I translated and published Noboalphabet, a text that is essential
if you want to understand the Teatro delle Albe – it is a sort of guidebook in
which Marco speaks poetically about his idea of theatre and the principles (but
also “non principles”) that guide his search.
More...
https://www.newitalianbooks.it/translating-theatre-interview-with-laurence-van-goethem/
***
Yale University Press is pleased to join with all those who celebrate
International Translation Day on September 30, 2022 to recognize and appreciate
the vital role that translators play in cross-cultural understanding and the
peaceful exchange of ideas.
We particularly wish to salute translators of literature, who enable great
works of literary art to reach readers who might not otherwise have access to
them.
A mission-driven commitment to literature in translation
In 2007, Yale University Press established the Margellos World Republic of
Letters series, named for Cecile and Theodore Margellos, the generous donors who
inspired and empowered it. In the decade and a half since then, this
passionately mission-driven publishing endeavor has brought to the
English-speaking world the work of dozens of leading literary artists and
thinkers from Europe, Latin America, Africa, Asia, and the Middle East.
Margellos titles celebrate the spirit of International Translation Day all year
round, as they stimulate international discourse and creative exchange.
More...
https://yalebooks.yale.edu/2022/09/30/celebrating-international-translation-day-2022/
***
HAMLET in French
https://www.youtube.com/watch?v=Kb_voCqu250&t=324s
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