Abstract
Internationally regarded Argentine playwright Rafael Spregelburd has never seen a satisfying English-language production of any of his textually complex plays. Spregelburd's negative experiences highlight not only some serious obstacles to successfully staging his theatre in translation, but also several key pitfalls awaiting anyone translating Argentine theatre for Anglophone readers and audiences. Through an examination of recent productions, particularly the multiple North American stagings of La estupidez in English translation and my own ongoing collaboration with Spregelburd in translating El pánico for a 2006 New York theatre festival and his latest work, Spam, for international production, I consider how the theatrical translator might respond productively to a playwright's anticipation of the failure of his plays in translation and in the process complicate translation's often-assumed unidirectionality.
Published Version
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