A Štěstěna, ta povstalecká děvka, se na něj zubila: shakespearovské překlady Milana Lukeše

Milan Lukeš, one of the leading theatre practitioners, theorists and Shakespeare translators of the late 20th century, valued his 1979 translation of Macbeth most, considering it the optimal combination of brutality, expressiveness and irony, coinciding with the spirit of its time. The article works out the notion of cultural dramaturgy as a key mover behind the act of translation; it also contrasts drama translation and literary translation drawing conclusions in regards of their critical assessment. The core part of the article discusses translation opportunism in Lukeš's Macbeth, i.e. the moments when the translator is making use of what the target language offers, often warping the semantic potential of the play. One specific feature of Lukeš's translations are reversions: places where the translator reverts the cadence or order things (on the level of syntax or semantic units) with the result of changing radically the lived experience of the passage and of the play as a whole. Another part focuses on cacophony and expressivity of Lukeš's translation, his mixtures of high and low style and intentionally uncanny or "ugly" expressions. This case study refines the critical tools for assessing drama translation.