The crux of the matter concerns the problem of the translation of technical terms, verbal expressions, words, aesthetic and philosophical concepts typical of theatrical practice in Russia which, applied in other cultural contexts, had produced misunderstandings and incorrect interpretations. In the theoretical-practical diffusion of Kostantin Stanislavskij's system, for example, the translation from Russian of a keyword such as pereživanie gave rise to various historical-critical interpretations depending on the language and the national culture of reception, producing a series problems both in the academic sphere and in theatrical practice at an international level. In the light of these reflections, an approach, so to speak 'philological', appears necessary, which compares again in the original language with the primary texts of theater directors and theorists, trying to understand the evolution of the meaning of the terms they created. A second approach could be defined as comparative-historiographic which compares the theoretical terms and concepts, developed by directors and in general by professionals of the theater scene, with the tradition of their (not always happy) translation into different languages which, in its time, it has given rise to many and different interpretations, both practical and theoretical.
Il nocciolo della questione verte sul problema della traduzione di termini tecnici, di espressioni verbali, di parole, di concetti estetici e filosofici propri della pratica teatrale in Russia che, applicati in altri contesti culturali, avevano prodotto fraintendimenti e interpretazioni errate. Nella diffusione teorico-pratica del sistema di Kostantin Stanislavskij, ad esempio, la traduzione dal russo di una parola-chiave come pereživanie ha dato adito a svariate interpretazioni storico-critiche a seconda della lingua e della cultura nazionale di ricezione, producendo a cascata una serie di problemi sia nella sfera accademica e sia nella pratica teatrale a livello internazionale. Alla luce di queste riflessioni appare necessario un approccio, per così dire ‘filologico’, che si confronti nuovamente nella lingua originale con i testi primari dei registi e dei teorici del teatro, cercando di capire l’evoluzione del significato dei termini da loro creati. Un secondo approccio potrebbe essere definito come comparatistico-storiografico che metta a confronto i termini e i concetti teorici, elaborati dai registi e in genere dai professionisti della scena teatrale, con la tradizione della loro traduzione (non sempre felice) in diverse lingue che, a sua volta, ha dato origine a molteplici e difformi interpretazioni, pratiche e teoriche.
Gavrilovich, D. (2021). Introduzione : dalla traduzione intersemiotica all’Atlante lessicografico. ARTI DELLO SPETTACOLO / PERFORMING ARTS, VII, 14-19.
Introduzione : dalla traduzione intersemiotica all’Atlante lessicografico
gavrilovich
2021-11-01
Abstract
The crux of the matter concerns the problem of the translation of technical terms, verbal expressions, words, aesthetic and philosophical concepts typical of theatrical practice in Russia which, applied in other cultural contexts, had produced misunderstandings and incorrect interpretations. In the theoretical-practical diffusion of Kostantin Stanislavskij's system, for example, the translation from Russian of a keyword such as pereživanie gave rise to various historical-critical interpretations depending on the language and the national culture of reception, producing a series problems both in the academic sphere and in theatrical practice at an international level. In the light of these reflections, an approach, so to speak 'philological', appears necessary, which compares again in the original language with the primary texts of theater directors and theorists, trying to understand the evolution of the meaning of the terms they created. A second approach could be defined as comparative-historiographic which compares the theoretical terms and concepts, developed by directors and in general by professionals of the theater scene, with the tradition of their (not always happy) translation into different languages which, in its time, it has given rise to many and different interpretations, both practical and theoretical.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.