Abstract
This article offers a retrospective analysis of aspects of my translation for the stage of Marina Carr’s By the Bog of Cats… into Brazilian Portuguese. By focusing on the iterative aspects of theatre translation as well as the translation of dialect, this article will elaborate the notion that theatre translation takes place at both individual and collaborative levels in which the translator works in dramaturgical capacity. These two levels cannot be dissociated because they constantly influence and inform one another. Although theatre translation begins as an individual task, originating in the complex act of reading the play-text, its final trajectory is deeply influenced by the creative insights of the production team. The overarching objectives of this article are, therefore: firstly to account for the overall process of translating for the stage, from the early drafts of the translation to the rehearsal process, and ultimately to the staged reading of the play; and secondly, to offer a narrative for how the cultural encounter between the exporting and importing cultures has taken place through translation and theatrical performance.
Highlights
Resumo: Este artigo é uma análise em retrospectiva de alguns aspectos da minha tradução para o palco da peça teatral “By the Bog of Cats...” de Marina Carr para o português do Brasil
In an attempt to minimise the anecdotal elements in this article as well as due to space constraints, I address the issues that originated from some of the character’s dialect and idiolect as they emerged during rehearsals
The practice-based part of my research had an entrepreneurial drive, which consisted of networking with Brazilian theatre directors between the winter of 2009 and spring of 2010. This was done in preparation for the fieldwork that provided the test ground for my translation and dramaturgical knowledge of the play. This discussion elaborates the notion that theatre translation takes place at both individual and collaborative levels
Summary
This discussion deals with the process of translating Marina Carr’s contemporary play By the Bog of Cats...[2] When describing the stylised portrayal of the Midland dialect, which defines one of the most distinguished features of Carr’s writing style during a certain period in her career, I felt the need to elucidate where the dialect came from, what it potentially resonated with, and how it could be re-created as a Brazilian Portuguese variant With this in mind, I added notes[10] accompanying Draft 1.1 (which were kept in all drafts) that seek to inform the production team about the Midland dialect, suggesting that, when performed in Brazilian Portuguese, the tone and accent of the characters should resonate with that of an undefined rural location (as there are so many different types of rural locations in Brazil), where echoes of a forgotten place can be heard. In travelling from the Irish bogs to the Brazilian Cerrado, the world inhabited by ghosts and fairies in the imagination of the translator, the opening dialogue that takes place between Ghost Fancier and Hester Swane was initially translated as (see Table):
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
