El loco y la triste / Mad Man Sad Woman
- Submitting institution
-
King's College London
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- 135863352
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- King's College London
- Open access status
- -
- Month
- June
- Year
- 2017
- URL
-
-
- Supplementary information
-
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- The double weighting is based on the undertaking of a complex, extended and multi-layered process of creative investigation. The production of El loco y la triste was the result of many years of investigation into Chilean theatre, and translation of Juan Radrigán. It involved the development of a methodology for translating culturally distant plays through close textual analysis and historical research and devising an innovative rehearsal process specifically for the translated text. The route to production involved a dramaturgical approach to the text, preparing for actors and director, and bringing it to life through a series of carefully directed workshops.
- Reserve for an output with double weighting
- No
- Additional information
- This output is composed of the translation and performance of El loco y la triste by Chilean dramatist Juan Radrigán (1980), translated as Mad Man Sad Woman for Head for Heights Theatre Company for performance at The Space, London (2017). The research process starts with the discovery of the play, based on knowledge of Latin American theatre, and leads to its translation, the rehearsal process and into professional performance. The research issues explored relate to the core question of the feasibility of the translocation of a play written in Chile under dictatorship to the contemporary London fringe. Research involves investigation into the context of the original production, the cultural and local reference in the language, the lexicon of marginalised communities, political environment and staging. The process involves communicating this information to the creative team in order to ensure confidence in the understanding of the orignal play and in the translation. The method uses a series of workshops of between one week and two days, each completed by a rehearsed reading, after which a new version of the translation is produced, annotated with guidance for director and actors. Throughout the process we use the recognised theatre methodology of ‘actioning’: deep close reading of the play with director and actors to uncover its internal dynamics and to learn how to embody the text in performance. The insights gathered emerge from the innovation in using this methodology in the process of translation of the theatre text, and the creative outcomes are a new translation and a performance. Dissemination was effectively shared through the production at The Space, London, where, after having won a competition for new work, the play became the centre piece of the summer season 2017. Workshops and readings of new translations engaged emerging translators and directors in this translation methodology.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -