The early twentieth century is widely regarded as a crucial period in British theatre history: it witnessed radical reform and change with regard to textual, conceptual and institutional practices and functions. Theatre practitioners and cultural...
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The early twentieth century is widely regarded as a crucial period in British theatre history: it witnessed radical reform and change with regard to textual, conceptual and institutional practices and functions. Theatre practitioners and cultural innovators such as translators Harley Granville Barker, William Archer and Jacob Thomas Grein, amongst others, laid the foundations during this period for - what is now regarded to be - modern British theatre. In this groundbreaking work, Katja Krebs offers one of the first extended attempts to integrate translation history with theatre history by ana
Cover; Title Page; Copyright Page; Half Title; Dedication; Table of Contents; Acknowledgements; Introduction; Overview of Chapters; 1. Unlikely Bedfellows? - Theatre Histories and Translation Studies; 1.1 The State of Play: Theatre Studies and Theatre History; 1.2 Theatre Translation Studies; 1.3 Translation History; 1.4 Text and Performance; 2. Tangled Webs They Weave - The Opportunist Translators within the Interwoven Theatrical Community; 2.1 Setting the Scene - The London Stage; a (Sub-)Field in the Making?; 2.2 Networks and Networkers
3. Spoilt for Choice: Translators and their Selection of Source Texts3.1 Similarities of Selection; 3.2 Three Reformers, Three Selections; 3.2.1 William Archer; 3.2.2 Jacob Thomas Grein; 3.2.3 Harley Granville Barker; 3.3 Ideology: The Individual Amid the Collective; 4. "England Expects …" - Sanctions, Norms and Expectations; 4.1 Defining Parameters of Analysis; 4.1.1 The Myth of Equivalence; 4.1.2 The Review as Sanction; 4.1.3 The Review as Metatext; 4.1.4 The Review Sample; 4.2 The Translated Other and the Inflated Self - Reviews at Work; 4.2.1 Equivalence in Concepts of Stage Translation
4.2.2 'Being on One's Guard': An Awareness of Equivalence and Cultural Hegemony4.2.3 'Blue Lines' - Translation, Morality and Censorship of the Other; 4.2.4 Translation and Genre; 4.2.5 'A Eurovision Stage Contest' - Hegemony and other Target Cultures; 4.2.6 Harley Granville Barker: Cultural Capital and the Translator as Re-writer?; 4.3 The Exception to the Rule; 4.3.1 William Archer, the Academy and Acculturation; 5. Dusting Down the Playtext for Imprints: An Investigation into Cultural and Social Traces in Translations; 5.1 Paratexts; 5.2 The Green Cockatoo; 5.3 Anatol; 6. Conclusion
Appendix: German Drama in English Translation on the London Stage - 1900-1920Bibliography; Plays; Newspapers; Secondary References; Index