Abstract
Abstract: Early in the COVID-19 lockdown, my 2017 translation of Romeo and Juliet was used by the New York Public Theater for a bilingual podcast called Romeo Y Julieta that made no linguistic or ethnic distinctions between the households. As a stage translator, my work is generally informed by the Mexican praxis of Spanish. However, providing the Spanish text for more diverse audiences made me both a distant and a close agent in projects approaching Shakespeare in unorthodox fashion within swiftly mutable identitarian contexts. Moreover, I was the only agent not working in/from the United States. This essay discusses the demands that this multicultural endeavor, its diverse performers, and its potential publics made on my craft, and addresses the outcome and its public reception in a context where my native and acquired tongues operate at once in loving sync and conflict—a world in which I do not belong, and yet I do.
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