Many ways of Waiting for Godot
Abstract
As any literary text, a dramatic text can be translated in a range of endless and equivalent stagings. Therefore, a comparative analysis of different performances of the same play can reveal its latent potentialities and show it to us from new perspectives, as many as the analysed performances, and all of them would be valid. This is what we intend to do through this work, by comparing two different stagings of Waiting for Godot: the first one by Lorenzo Loris, director of the troupe of the Theatre Out Off, from Milan (2009/2010); the second one is directed by Francesco Saponaro in the Theatre Mercadante, in Naples.Thanks to some useful tools like the DVD recordings of both shows and the interviews kindly granted by the directors, we could start first analyzing the non-verbal elements of each show (most of all the sets), and then comparing the scripts. Finally, we could deduce from such analysis the translation project and the interpretation of each troupe, and find proofs of ours results in the interviews.Downloads
References
Badiou, Alain, Beckett: L’inestinguibile desiderio, Il Melangolo, Genova, 2008.
Beckett Samuel, En attendant Godot, Les éditions de minuit, Paris 1952, trad. en. Waiting for Godot, Faber and Faber, London 2010, trad. it. di Carlo Fruttero, Aspettando Godot, Einaudi, Torino, 2002.
Benjamin, Walter, “Il compito del traduttore”, id. Angelus novus, trad. it. di Renato Solmi, Einaudi, Torino, 2006.
Blake T., Hanna, “Samuel Beckett: traducteur de lui même”, Meta: journal des traducteurs /Meta: Translators’ Journal, 17.4 (1972): 220-224.
De Marinis, Marco, Semiotica del teatro – l’analisi testuale dello spettacolo<(i>, Bompiani, Milano, 1982.
Jakobson, Roman, “Aspetti linguistici della traduzione”, trad. it. di Luigi Heilmann e Letizia Grassi, Teorie contemporanee della traduzione, Ed. Nergaard, Siri, Bompiani, Milano 2007.
Knowlson, James, Damned to Fame: The Life of Samuel Beckett, Bloomsbury, London 1996.
Miglio, Camilla, “Nel principio, la traduzione. Lettura di Giovanni 1-18”, Dello scrivere e del tradurre, Eds. Valentina Di Rosa, Giovanni La Guardia, Camilla Miglio, Quaderni de “L’Orientale”, Napoli 2007: 87-95.
Milaneschi, Francesca, “From Watt to Watt: Samuel Beckett autotraduttore”, Quaderno del Dipartimento: Francesistica (Uniroma3), 2008 : 187-207.
Montini, Chiara, “Traduire le bilinguisme: l’exemple de Beckett”, Littérature, 141, 2006.
Pantaleoni, Luisa, “Stage direction as interpretation: A study in transition from Shakespeare to Verdi in two librettos”, Traduzione multimediale per il cinema, la televisione e la scena, Eds. Heiss, Christine - Bollettieri Bosinelli, Maria, Atti del convegno internazionale, Clueb Bologna, 2006.
Rocci, Lorenzo, Vocabolario greco-italiano, trentaduesima edizione, Società Editrice Dante Alighieri, Roma, 1985.
Salmon, Laura, Teoria della traduzione – Storia, scienza e professione, Vallardi, Milano, 2007.
Sebellin, Rossana, “Quattro cani (in cucina): La filastrocca in Waiting for Godot di Samuel Beckett”, Linguæ &, n. 2, 2003: 41-58.
Shelley, Percy Bisshe, Poesie, Ed. Giuseppe Conte, BUR, Milano 1998.
Snell-Hornby, Mary, “All the world’s a stage: Multimedial translation – constraint or potential?”, Traduzione multimediale per il cinema, la televisione e la scena, Eds. Heiss Christine, Bollettieri Bosinelli Maria Atti del convegno internazionale, Clueb Bologna, 2006.
Uhlmann Anthony, Houppermans Sjef, Clément Bruno (eds.), “After Beckett, D’Après Beckett”, Samuel Beckett Today / Aujourd’hui 14, Editions Rodopi, Amsterdam – New York, 2004.
Copyright Notice
You are free to copy, distribute and transmit the work, and to adapt the work. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
