Advertisement

‘The Isle Is Full of Noises’: Italian Voices in Strehler’s La Tempesta

  • Manuela Perteghella
Chapter
Part of the Palgrave Studies in Translating and Interpreting book series (PTTI)

Abstract

In this case study Perteghella analyzes the collaborative translation of La Tempesta by Shakespearean academic Agostino Lombardo, commissioned and then produced on stage by theatre director Giorgio Strehler in 1978. A contrastive analysis is carried out between the first translation Lombardo wrote for Strehler and Lombardo’s subsequent rewriting, which eventually became the script for the stage production. The analysis takes into consideration their discussions, ideas, and exchanges on the play and on the process of translation itself. The personal correspondence between Lombardo and Strehler, published together with the two translations in 2007 by Donzelli Editore and curated by Rosy Colombo, is here discussed, in order to understand the role of collaborative translation in stage production, and the relationship between artistic director and commissioned translator.

References

  1. Atwood, M. (2016) ‘A Perfect Storm: Margaret Atwood on rewriting Shakespeare’s Tempest’, The Guardian Review, Saturday 24 September 2016.Google Scholar
  2. Bajma Griga, S. (2003) La Tempesta di Shakespeare per Giorgio Strehler (Shakespeare’s Tempest for Giorgio Strehler), Pisa: Edizioni ETS.Google Scholar
  3. Bigliazzi, S. and L. Calvi (eds) (2014) Revisiting The Tempest: the Capacity to Signify, Basingstoke: Palgrave.Google Scholar
  4. Colombo, R. (2007a) ‘Caro Agostino, Caro Giorgio’ (Dear Agostino, Dear Giorgio), in R. Colombo (ed.) La Tempesta tradotta e messa in scena (The Tempest Translated and Staged), Roma: Donzelli Editore, pp. xiii–xxiv.Google Scholar
  5. Colombo, R. (ed.) (2007b) La Tempesta tradotta e messa in scena (The Tempest Translated and Staged), Roma: Donzelli Editore.Google Scholar
  6. Delabastita, D. (1998) ‘Shakespeare Translation’, in M. Baker and G. Saldanha (eds) Routledge Encyclopedia of Translation Studies, London: Routledge, pp. 263–268.Google Scholar
  7. Horowitz, A. (2004) Prospero’s “True Preservers”: Peter Brook, Yukio Ninagawa, and Giorgio Strehler. Twentieth-Century Directors approach Shakespeare’s The Tempest, Newark: University of Delaware Press.Google Scholar
  8. Hulme, P. (1986) Colonial Encounters, London and New York: Methuen.Google Scholar
  9. Jakobson, R. (2000) ‘On Linguistic Aspects of Translation’, in L. Venuti (ed.) The Translation Studies Reader, London and New York: Routledge, pp. 113–118.Google Scholar
  10. Kennedy, D. (ed.) (1993) Foreign Shakespeare: Contemporary Performance, Cambridge: Cambridge University Press.Google Scholar
  11. Kleber, P. (1993) ‘Theatrical Continuities in Giorgio Strehler’s The Tempest’, in D. Kennedy (ed.) Foreign Shakespeare: Contemporary Performance, Cambridge: Cambridge University Press), pp. 140–157.Google Scholar
  12. Kott, J. (1966) Shakespeare Our Contemporary, New York: Anchor Books.Google Scholar
  13. Lombardo, A. (1993) ‘Translating Shakespeare for the Theatre’, in R. Clark and P. Boitani (eds) English Studies in Transition: Papers from the ESSE Inaugural Conference, London: Routledge, pp. 138–146.Google Scholar
  14. Kott, J. (1979) ‘Prospero or the Director: Giorgio Strehler’s The Tempest (Piccolo Teatro di Milano)’ tr. Barbara Krzywicka, Theater 10. 2 (1979), pp. 117–122.Google Scholar
  15. Lombardo, A. (tr.) (2007) ‘La Tempesta’ (The Tempest), in R. Colombo (ed.) La Tempesta tradotta e messa in scena (The Tempest Translated and Staged), Rome: Donzelli Editore.Google Scholar
  16. McDonald, R. (1991) ‘Reading The Tempest’, in S. Wells (ed.) Shakespeare Survey (Vol. 43), Cambridge: Cambridge University Press, pp. 15–28.Google Scholar
  17. Perteghella, M. (2006a) A Descriptive Framework for Collaboration in Theatre Translation (Unpublished doctoral thesis), Norwich: University of East Anglia.Google Scholar
  18. Perteghella M. (2006b) ‘Poetry, Music and Transformation in the Gulf of Naples: A Creative Voyage of The Tempest’, in M. Perteghella and E. Loffredo (eds) Translation and Creativity, London and New York: Continuum, pp. 141–166.Google Scholar
  19. Strehler, G. (1992) ‘È iniziato il lavoro della Tempesta’ (Work on The Tempest has Started), in Strehler, G. Inscenare Shakespeare (Staging Shakespeare), Rome: Bulzoni, pp. 104–5.Google Scholar
  20. Susam-Sarajeva, Ş. (2001) ‘Is One Case Always Enough?’, Perspectives 9 (3): 167–176.Google Scholar
  21. Yin, R. K. (2014) Case Study Research: Design and Methods (5th edn), Thousand Oaks: Sage.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Manuela Perteghella
    • 1
  1. 1.Independent ScholarStratford on AvonUK

Personalised recommendations