Abstract
Translation (and rewriting) has been central to Simon Stone’s artistic practice since his first major directing success, an adaptation of the play Frühlings Erwachen (Spring Awakening) by the German playwright Frank Wedekind. This article begins with a brief introduction to Stone’s work, before exploring differing approaches to adapting and rewriting canonical plays in Australia and Germany. It then turns to theoretical approaches to the translation of theatre, before focusing on the process of translation in reference to four plays by Stone that the author has translated into German: Die Orestie (The Oresteia), Yerma, Die Wildente (The Wild Duck), and Unsere Zeit (Our Time).
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