This autumn, Birkbeck Centre for Contemporary Theatre Fellow, Phoebe von Held, will run a double-session workshop on the brand new translation task, Jae Fleischhacker, a remarkable fragment by Bertolt Brecht, working with Chicago’s wheat exchange marketplace together with crises of international capitalism at the start of the twentieth century. Here is the first translation with this fragment into English.
- Saturday 17 October, 10am-1pm, Birkbeck University of London, Keynes Library
- Saturday 14 November, 10am-1pm, Birkbeck University of London, Keynes Library
The goal of the workshops is to invite feedback and exchange from the translation. We shall read newly translated views, focussing on particular passages where in fact the linguistic type of Brecht presents specific challenges into the translator. The workshop is primarily addressed to English native speakers (German is an added advantage) and anyone that is thinking about theater, composing, literature and interpretation. The most number of participants in each session is 10. Participants can join the dates, or even for both.
We have created a quick cartoon regarding the motif and experience of otherness for the OthernessProject (Representations associated with the Other: Language, Body and area in Cross-cultural shows).
Thinking and imagining otherness as metamorphosis, we took as point of research when it comes to video Ariel’s tune in Shakespeare’s The Tempest. Liquid becomes both death-bringer and transformance. Here the voice, disembodied from text, speaks from feasible perspective associated with the (alleged) drowning man, who becomes various other, while sounds, music, and a few ideas of modification tend to be explored at various amounts. You can view our animation and the various other projects here. (Scroll right down to Otherness Tales for the movie entitled ‘Sea Change Movie’).
Manuela & Eugenia
We continue with our motif of avant-garde and our focus on Italian blogger and poet Iginio Ugo Tarchetti. As previously discussed, Tarchetti had been an exponent associated with the Scapigliatura movement, which developed in the North of Italy after the nineteenth century, in particular one of the cultural and literary sectors of a sprawling, more and more rich Milan. While despising the provincialism of some components of the Italian literature of times, and polemicising the methods and values associated with bourgeoisie, the scapigliati led bohème lives and sought to explore inside their writings and artwork an alternate truth. Tarchetti, and Cletto Arrighi, Arturo Graf, Giuseppe Rovani and Emilio Praga, amongst others, became affected by the German Romantics, by the French symbolists, by international gothic fiction. Inside feeling they proposed a fresh outlook towards domestic literary works and culture. Their work, as well as in specific Tarchetti’s novels and poems, are worried with demise, infection (real and mental), deformities, pathologies, as well as the bizarre. The aspect of the ‘fantastic’ in Tarchetti’s works, too his commitment through interpretation into international gothic, have now been extensively discussed by Lawrence Venuti, who sees Tarchetti’s own interpretation and adaptation practice as foregnising and dissident (2008, pp.125ff).
another poem by Tarchetti which was translated for this blog is number VII, additionally taken from their Disjecta collection. The poem, picturing the poet and a lady friend sitting on lender of a river, ‘alone’ actually and psychologically, contemplating fate and demise, is filled with ambiguity and despair, as they appear to be attracted at a time into flowing, free waters regarding the river, yet grieving for what lies beyond.
The interpretation is in the form of a filmic poem. In an earlier post ‘Notes on art of text making‘ We have talked about exactly how filmic or cinematic poetry (or certainly poetry-film) experiments with various media to state different textual layers and narratives. Filmic poetry – both as a literary genre and an art-form – happens to be pioneered by the contemporary US and European avant-garde, just who sought to create an innovative new style, where verbal and also the artistic text together would create meaning in a poetic form, inside feeling of creating metaphors, associations, brand new connotations (see Wees 1984).
The use of the going picture normally likely inside interpretation of avant-garde texts (plus in the avant-garde mode of interpretation of texts) as movements such as Surrealism were tinkering with the then brand-new and exciting medium of film generating, using, and subverting it.
Venuti, Lawrence (2008) The Translator’s Invisibility, A History of Translation. Routledge
Wees, William (1984) “The Poetry movie” in Wees, William & Dorland, Michael (eds) Words and Moving photos, Mediatexte Publications.
After a lengthy break we have been returning to give you some translations from the theme of surrealism and avant-garde.
The Italian blogger our company is working on at present is Iginio Ugo Tarchetti. He had been created in San Salvatore Monferrato, in Piemonte, in 1839 and soon after lived-in Milan in which he joined up with the ‘Scapigliatura’, an artistic activity comparable to the French bohème. Virtually, ‘scapigliati’ means ‘dishevelled’, ‘unkempt’, and its users shared a spirit of rebellion against standard values additionally the creative and literary canon of that time period. Tarchetti published brief tales, novels and poems. He was known as the Italian Edgard Allan Poe since the atmosphere of his Great Tales echoes the gothic fixation with the morbid.
Tarchetti was created too-early (as well as died too early at age of 29) to be element of any twentieth-century avant-garde action. But their rebellious nature along with his feeling of the ‘fantastic’ flows into a number of images which are initially unique therefore their composing well lends it self to experimental interpretation.
We have decided to convert a few their poems from a group known as ‘Disjecta’. The very first poem we provide is number VIII. To read and view the translations check-out Translation as well as other Writings.
As always we look ahead to getting your comments.
In my situation, the idea of avant-garde with regards to literary interpretation suggests three things. Initially, it means that an interpretation should be ahead of its initial, not merely when you look at the feeling of updating it, however in the feeling of projecting it deep into possible futures, imagining its formal and expressive potentialities. Second, so as to make that projection, translation must draw on all those graphic, typographic, dispositional, multi-medial innovations that avant-gardes are making available as expressive resources throughout the last century and more, and which ‘standard’ literature will eschew. Third, and therefore, translation must look for become avant-garde with regards to national literatures. Simply put, translation should not be afraid to generate a literature of its very own, a literature which challenges nationwide literatures to check outwards, beyond their particular linguistic frontiers, and also to adopt those universal languages already referred to, after all the languages of image, of lay-out, of typeface and font, of graphism, of acoustics. By means of showing what I mean, we attach two translations, one a modern musical account of Goethe’s ‘Über allen Gipfeln’ (written 1780) (Fig. 1) together with other a photo-poem, that's, a photographic transcription of lines 71-76 of Apollinaire’s ‘Zone’ (1913) [today you’re walking in Paris on the list of milling crowds/Herds of lowing omnibus drive by near to you/Love’s pains contract around your throat/As if you were bound to never be enjoyed again/If they were days gone by you’d join the brotherhood of monks/Shame takes a grip once you get yourself in prayer] (Fig. 2). This photo-poem is designed not just to suggest this content for the outlines, but also their particular original French rhythms.