Il cane dell’ortolano de Lope de Vega según Ameyden, Gasparetti y Fiorellino

Lope de Vega’s posthumous fame in Italy differs according to the ages: if in the 17th century he was really appreciated and his dramas and comedies were often translated, adapted and represented, nowadays he’s practically absent in the dramatic production and there are just a few titles available in Italian translation. This also happens for his masterpieces. The case of El perro del hortelano is quite interesting, since there are three versions, by Ameyden, Gasparetti and Fiorellino, belonging to different periods and different conceptions of translation and literary taste. This article tries to analyse them in a comparative perspective.

Los vaivenes del canon Traducción y puesta en escena de la comedia áurea en Rusia

This chapter surveys the history of Russian translations of Golden Age Spanish theatre from the early 18th century until now, with a special focus on the relationship between translation trends and performance history. Our main goal is not only to document all known Russian translations of Spanish classical plays completed in the past 300 years, but also to elucidate the processes by which translation took part in the development and transformation of a specifically Russian comedia canon.

Las dos traducciones de El purgatorio de San Patricio por Denis Florence MacCarthy (1853 y 1873) Primeras calas

The article analyses The Purgatory of Saint Patrick, a translation of Calderón’s El purgatorio de San Patricio which the Irish poet Denis Florence MacCarthy (1817-82) published in two versions, one in 1853 and one in 1873. The comparison of the two texts shows how MacCarthy, as a lucid importer of the Catholic and Baroque Calderón in a predominantly hostile Anglophone culture, progressively refined his poetics of translation, adopting in particular a completely imitative versification (including a bold assonant English verse) and showing a growing, if eclectic, fidelity to the Calderonian rhetorical universe.

El teatro clásico español en Alemania Cuatro siglos y veinte años de recepción

This article seeks to give a first and comprehensive impression on the different stages of translations from Spanish Baroque theatre into German. While in the 17th and 18th centuries that contact is usually established through Dutch, Italian and French translations, it is at the beginning of the 19th century that key figures of the German Romanticism translate theatrical plays of the Spanish Baroque with a strong focus on formal aspects and philological accuracy. Nevertheless, this article shows that the first contacts between Golden Age theatre and Germany are much older than generally assumed and that the influence of Calderón and Lope on the creation of a German theatre tradition might be much stronger than it is commonly thought. Therefore, this article calls for a more profound study of the circulation of Spanish Golden Age theatre in Europe.

Traducir a Lope: El acero de Madrid

This essay takes on and reorganises the elements brought forth at the time of the round table conference To translate Lope, coordinated by Renata Londero in October 2019. It considers the place that the Spanish baroque theatre occupies today in the French context. It mentions some translations of Lope de Vega in accordance with the taste of the public and it analyses a successful Spanish adaptation of El acero de Madrid. Attending to the translation in prose of the play (Gallimard, 1994), it evokes the method chosen by translators and presents some ecdotic and linguistic questions and their impact on the translation. It ends on a more personal note.

Las traducciones francesas del teatro español del Siglo de Oro (siglos XIX-XXI)

This article provides a description of translations and stage adaptations of Golden Age Spanish theatre from early 19th century to the present day. Fluctuations in taste, expectations and changing preferences of audiences, as well as the political context influenced the choice of which play was to be translated. Moreover, the degree of fidelity to the source text varies, as some are very faithful (written in verse, for example) while others are very free adaptations, and can be described as reinventions or rewritings rather than true translations. In spite of these infinite disparities between the texts considered, it is possible to detect a hierarchy that appears quite early between plays and Spanish authors, with Calderón playing a predominant role.

La presencia del teatro clásico español en el mundo árabe Entrevista con Zidan Abdel-Halim Zidan (Universidad de Al Azhar, El Cairo)

This article presents the text of an interview held in 2019 with the Egyptian Hispanist Zidan Abdel-Halim Zidan about translations of Spanish classical theater in the Arabic language, in an attempt to offer a first approach to this editorial corpus as a whole. In appendix, Halim Zidan also offers a brief bio-bibliographic catalog of the main translations into Arabic and a bibliography of known editions.

En torno a la paradójica recepción del teatro de Lope de Vega en Polonia Traducciones, representaciones y comentarios críticos

This study offers a chronological review of the critical and theatrical reception of Lope de Vega’s plays in Poland, in which we can see surprising paradoxes. Taking into consideration reception as a complex process, we intend to establish the nature of the role played by translators in this respect.

La vida es sueño en forma analógica Teoría, metodología y recepción de la traducción a contrapelo

Since at least the 1990s, Translation Studies theorists have advocated greater respect for alterity in literary translation. With the advent of Naturalist theatre and, later, the predominance of free-verse poetry in the 20th century, renderings of both poetry and verse drama in the English-speaking world have favoured assimilation with target-culture values. “Organic form”, described by James S. Holmes as the methodology with which a translator renders a source text primarily for its meaning, has been the prevalent strategy for translating works such as Spanish Golden Age dramas for approximately a century now. A return to the methodology of “analogical form”, with which a translator seeks to render the source text using correlatives to its form and function in the source culture, would do much to recognise the Other by avoiding both de-historicisation and de-poeticisation through less domesticated target texts. Examples of these competing methodologies will be examined in a few American translations of Pedro Calderón de la Barca’s La vida es sueño.

Las traducciones de teatro español en la Biblioteca Digital EMOTHE

This article describes nineteen translations of plays of Spanish classical theatre offered by the open-access EMOTHE Digital Library of early modern European theatre that is being developed at the Universitat de València (Spain). The commentary focuses on aspects such as the provenance of translations, their translators, their skopos or purpose in relation to theatrical character of the playtexts, and the criteria for selection. It pays special attention to the problem of translating texts with polymetry, following the approaches proposed by James Holmes (1970): mimetic, analogical, organic and extraneous.