''The Old Tune'': Samuel Beckett’s Poetics of the Author Translation (on the Example of Adaptation of a Play for Radio ''La Manivelle'' by Robert Pinget)

Abstract

The article examines peculiarities of the author translation and adaptation within the frames of tradition and studies possibilities of the Irish idiomaticity in the context of Beckettian poetics offering an alternative perspective at his own dramaturgy. The article correlates textual and contextual features of a play for radio as genre, showing development of the Irish dramatic tradition from the point of view of Modernist parody and Postmodernist pastiche to study tragicomedy as a leading type of play in the Irish theatre of the 20 th century. Based on Robert Pinget’s ''la Manivelle'' play the article exemplifies peculiarities of the literary, for word, translation as a means of authorial self-discipline intrinsic to Beckettian poetics. The article examines also a concept of an ''Irish bull'' as a statement containing an incongruity or a logical absurdity, usually unknown to the speaker; a ludicrously illogical statement that functions effectively in post-Modernist drama, Irish in particular due to its natural satirical tradition evolved into the XXth c. existentialist mindset to transform into being ludicrous by its absurd logic. Supposedly the Irish are predisposed to this type of absurdity or rather this is a style of humour peculiar to the Irish. Some aspects of the study highlight metaphorical connotations of certain lexical misconceptions, the so-called unnatural conceits that are used erroneously from a logical point of view, but their figurative segment is efficient: catachresis an incorrect use of a word by misapplication of terminology or by strained or mixed metaphor. Such trope is used to trespass the contextual determiners to justify its use. The play follows in the tradition of mystification and travesty, ambivalent nature of 'paddywhackery' as a controversial slang for non-conformity and novelty. The art of auto-(authorial) translation reveals effectiveness of ambivalent obscurity and satire via oxymoron patterns as a marker of stereotypical associations with certain marginalized layers of society Beckettian characters are conventionally being identified with.