Stage directions as a compensation strategy in theater translation: the case of Pygmalion
DOI:
https://doi.org/10.24310/Entreculturasertci.vi13.15427Keywords:
Theater translation, Pygmalion, Performativity, Adaptation, Stage directionsAbstract
Is it possible to translate a play such as George Bernard Shaw's Pygmalion, which deals with the English language and its relation to social class, into Spanish? Can cockney be translated? Can the performative nature of orality be translated without adapting the context of the play? By analysing the translatological problems of Pygmalion, especially those arising from the translation of the orality and the performativity of the play (i.e., the use of cockney and other deviations from the hegemonic use of language), the aim of this paper is to demonstrate that, in theater, the boundaries between translation and adaptation are not as clear as it might seem at first sight. The final objective is to examine the possibilities of adding stage directions as a theater translation strategy, halfway between amplification, compensation, adaptation and the translator's note.
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