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omittwoandahalfacts:therulesdictatedthattheeventsrelatedtoBrutusand
theremainingconspiratorscouldnotbeincluded,andtheplayhadtoendwith
Caesar’sdeath.
BecauseofthepositionofEnglishasagloballanguage,literatureintranslation
inevitablytakesupalesscentralpositionintheEnglishspeakingworldthanit
doesintheliteratureofnationswherelessfrequentlyusedlanguagesare
spoken.TranslationfromEnglishintosuchlanguagesislikelytobeclosertothe
original,asfamiliaritywithEnglishsocialandculturalcustomscanoftenbe
assumedonthepartofsuchtheatreaudiences.Hence,aplaysuchas
EducatingRitabytheBritishplaywrightWillyRussell,whichtellsthestoryofa
LiverpoolhairdresserwhoenrolsattheOpenUniversitytostudyEnglish
literature,mayatfirstseemriddledwithproblemsforthetranslator,asbooks
arediscussedthroughouttheplaywhichmaynotevenbeavailableinother
languages.Theplaywas,however,successfullytranslatedintoalargenumber
ofdifferentlanguages,withtitlesofbooks,insomecases,simplyretainedin
English.
Playsoriginatinginlessfrequentlyusedlanguagesandperformedintranslationin
Englishspeakingcountries,ontheotherhand,oftenrequireagreaterdegreeof
adjustmentbecauseofEnglishaudiences’lackoffamiliaritywithSLcultures
andsocieties.Notinfrequently,leadingBritishplaywrightsarecommissionedto
performthistask,producingwhatisknownasanewversion.Recentexamples
ofthistypeofADAPTATIONincludePillarsoftheCommunity,Sam
Adamson’sversionofIbsen’splay,betterknownasPillarsofSociety,forthe
NationalTheatreintheautumnof2005andChristopherHampton’s
dramatizationofSándorMárai’sHungariannovelstagedinLondoninthespring
of2006,titledEmbers.
AnothersuccessfulADAPTATIONfortheNationalTheatrewasTom
Stoppard’sreworkingofJohannNestroy’snineteenthcenturyViennese
comedyEinenJuxwillersichmachen.CrucialtoNestroyintheoriginalis
thelanguage,inparticulartheremarkablegamesheplayswiththeViennese
dialect.OntheRazzle,Stoppard’srewriteversion(1982),makesnouseof
dialect,nordoesitincorporatecomicsongsofthetypeNestroylikedto
interposebetweenscenechanges.Forcomiceffect,itreliessolelyon
Stoppard’sownwit,onnewlycoinedpunsandotherinventivewordgames.
Inthetranslationofhumour,aparticularlydifficultproblemispresentedby
malapropisms,socalledafterSheridan’sMrsMalaprop,inclinedtomaking
fatalmistakesintheformof‘uneducatedblends’suchasreferringto‘epitaphs’
insteadof‘epithets’.Herethechallengetothetranslatorisformidable.There
appearforexampletobefewifanysuccessfulrenderingsofthemalapropisms
usedbyGinainTheWildDuck,withtheconcomitantlossofthecomiceffect
createdinNorwegian.Asaresult,whileIbsendescribedhisplayasatragi
comedy,inEnglishtranslationitemergesaslittlemorethanatragedy.
Adaptationswhichtaketheformof‘creativerewrites’(Billington1984)are
mostlikelytobesuccessfulinthecaseofmorerobustcomedies,lesssowith
playsconcernedwithsocialcriticism,andleastofallwithpsychologicaldrama.
ThisisacknowledgedbyStoppardwho,priortohisNestroyadaptation,turned
ArthurSchnitzler’sDasWeiteLandintoUndiscoveredCountry¸alsoforthe
NationalTheatre.
InthecaseofUndiscoveredCountry,theIbsenesqueundercurrentsofthe
playmadeitimportanttoestablishaspreciselyaspossiblewhateveryphrase
meant,rootouttheallusions,findthenicetiesofetiquette,andsoon,and
generallytoaimforequivalence.
(Stoppard1981:8)
Thefateofother,lesssuccessfulproductionsofplaysadaptedintranslation
confirmstheneedforattentiontodetailandfaithfulnesstotheoriginalinthe
caseofpsychologicaldrama.Reid(1980)reportsonalessthansuccessful
productionofAnouilh’sAntigoneastheresultofsomeminor,wellintentioned
alterationsundertakenbythetranslator.Feelingthatthistranslationneeded
elaboration,thetranslatoraddedacoupleofglossesanddeletedafewlines.In
asecondtranslationoftheplay,however,nosuchalterationsweremade.The
dramaticeffectoftheunadaptedtranslationturnedouttobemarkedlydifferent.
WhereasreviewersoftheLondonproductionbasedfaithfullyonthesourcetext
wereinnodoubtastoAnouilh’scentralthemes,AmericanandNewZealand