Los intereses creados / Bonds of Interest
- Submitting institution
-
King's College London
- Unit of assessment
- 26 - Modern Languages and Linguistics
- Output identifier
- 135862003
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- King's College London
- Open access status
- -
- Month
- July
- Year
- 2019
- URL
-
-
- Supplementary information
-
-
- 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
-
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. This involved study of the text and cultural and historical context of Los intereses creados, including its genealogy in 17th-century theatre. This was accompanied by deep linguistic study of historical meaning, punctuation and syntax. The process involved two years of work with the director, involving learning about the commedia dell’arte aesthetic of the play and working on its translation for an outdoor, masked performance in Ottawa. The performance script was produced through a series of workshops in the UK and Canada.
- Reserve for an output with double weighting
- No
- Additional information
- This output is composed of the translation and performance of Los intereses creados / Bonds of Interest by Spanish author Jacinto Benavente (Nobel Prize 1922). The process started when the Odyssey Theatre Company, Ottawa, discovered the play through the Out of the Wings theatre translation project directed by Boyle. The research issue explored was whether this 1907 play could be newly translated for a production by a contemporary commedia dell’arte company. The research process started with the reading by members of the Out of the Wings Collective of an extant translation to test the reception by a new audience. The next stage was new translations of extracts for auditions, and a full translation for a week of workshops and a public performance in Ottawa in 2017. The research insights related to three core elements: understanding the relationship to a play by Lope de Vega; understanding the commedia dell’arte language and structure of the play; negotiating and developing the language through which to maintain these elements while making the play available for a modern audience and negotiating a transfer to Canadian English. This was accomplished through a series of weekly meetings for eight months with the director in which each speech was studied word for word, looking at every detail of punctuation, in order to ensure clarity of understanding in the text and clarity of meaning and interpretation for the creative team. Linked to this was a process of careful cutting and word choice in order to ensure that the play could be embodied and performed by actors wearing masks, which puts extra demands on the actors in relation to enunciation and gesture in performance. The creative outcome was the production in 2017, through which insights and discoveries were effectively shared, with the theatre company, audiences and press.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -