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Specializes in:
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Art, Arts & Crafts, Painting
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Sample translations submitted: 1
Catalan to English: Ethics, Poetics and Subjectivity in the Work of Sarah Kane General field: Art/Literary Detailed field: Poetry & Literature
Source text - Catalan Finalment, pel que fa al tercer marc teòric, el paradigma poètic que seguirem està vinculat a aquelles teories nascudes amb la crisi del drama (Szondi 1956; Sarrazac 1981, 1989, 2005) i que posen en evidència, d’una banda, una ruptura absoluta de totes les categories dramàtiques (diàleg, personatge, faula, argument i representació escènica), que dóna lloc a un text en què es barregen elements d’altres gèneres, així com polifonia i fragmentació, i que encapçalen els estudis poètics de Sarrazac (1981, 1989, 2005), i de l’altra, l’aparició d’uns textos que, com els de Kane, recullen trets clarament performatius que subratllen el rol actiu de l’espectador i en els quals l’escenificació resulta prioritària a la fidelitat textual, com suposa el paradigma estètic de Lehmann (1999). Respecte la performativitat del text en el teatre de Kane resulten rellevants altres fonts teòriques que analitzen el paper actiu de l’espectador des d’una clau ètica i política com Theatre Audiences (1990), de Bennett, Theatre, Body and Pleasure (2006), de Shepherd, The Emancipated Spectator (2009), de Rancière, o Ästhetik des Performativen (2004), de Fischer-Lichte. Actualment encara no hem pogut aprofundir en el tipus d’implicació ètica que buscava Kane en l’espectador ni en el que ha arribat a assolir en els posteriors muntatges de la seva obra. Tot i així, tenint en compte el paradigma ètic emprat, sembla evident que mecanismes com la ruptura poètica dels seus textos o la violència explícita o subjacent en la relació dels personatges poden tenir un paper rellevant en la implicació emocional i ètica de l’audiència.
Translation - English Finally, regarding the third theoretical framework, the poetic paradigm that we are following is linked to those theories born with the crisis of the drama (Szondi 1956; Sarrazac 1981, 1989, 2005) and, they put forth as evidence, on the one hand, a complete breakdown of all the dramatic categories (dialogue, character, fable, plot and staging), that results in a text in which elements from other genres are blended, as well as polyphony and fragmentation, and that heads the poetic studies by Sarrazac (1981, 1989, 2005), and, on the other hand, the appearance of some texts that, like those of Kane’s, include clear performative traits that highlight the active role of the spectator and in which the performance takes priority over the textual fidelity, as represents the aesthetic paradigm by Lehmann (1999). Regarding the textual performativity in Kane’s theatre there are other relevant theoretical sources that analyse the active role of the audience from an ethical and political perspective, such as Theatre Audiences (1990), by Bennett, Theatre, Body and Pleasure (2006), by Shepherd, The Emancipated Spectator (2009), by Rancière, or Ästhetik des Performativen (2004), by Fischer-Lichte. Currently we have not yet been able to delve into the kind of ethical implication that Kane sought in the spectator, nor in what was achieved in the subsequent productions of her work. However, taking into account the ethical paradigm used, it seems evident that mechanisms like the poetic breakdown of her texts or the explicit violence or subjacent in the relationship among the characters can have a relevant role in the emotional and ethical implication of the audience.
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PhD - Universitat Pompeu Fabra
Experience
Years of experience: 31. Registered at ProZ.com: Jun 2013.
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