Název: Concretization‒transduction‒adaptation : on Prague School legacy in theatre studies today
Zdrojový dokument: Theatralia. 2012, roč. 15, č. 2, s. 125-153
Rozsah
125-153
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/124417
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
In his 1963 article "The Translation of Verbal Art", Jiří Levý engages with the task to theorize the mechanisms of translation. Levý stresses the complex task of translator as a receiver of the original document, and as a creator of its new textual concretization (the text of a translation) in another language. Levý constructs his theory of translation in dialogue with Felix Vodička's study "The Concretization of the Literary Work". Similarly to Vodička, Levý proposes to take the concept of concretization as the active involvement of the perceiver‒reader or the perceiver‒artist in the act of reading, interpretation and creative engagement with the original, but he opts to "operate with a more limited definition of the concept"; and thus defines a theatrical performance as "the realization of a dramatic text through the medium of the theatre; a translation as a realization of a work in a new language; and a critical evaluation as an interpretation" (LEVÝ 1963: 222). Following this analogy, I propose to define the process of adaptation – another form of concretization of the material ‒ as a realization of an original work either within the new performative medium, intermedial adaptation, or within the same performative medium, intramedial adaptation, as a realization (actualization or concretization) of an original work within the same media and the new artistic, linguistic and socio-cultural circumstances of the target audience. This article aims to begin the process of refocusing adaptation studies from its emphasis on the binary Original Text versus Adaptation Text to more dynamic formula: original adaptor/receiver activity = Adaptation. It aspires to study the figure of the adaptor/receiver and his/her cognitive and artistic activities, as well as to re-examine the methodological and artistic mechanisms found in the adaptation as the process of concretization.
Reference
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[2] BERGER, Richard. 2010. Never Seek to Tell Thy Love: E-adapting Blake in the Classroom. In Dennis Cutchins, Lawrence Raw, and Welsh James M. Lanham (eds.). Redefining Adaptation Studies. Toronto: The Scarecrow Press, 2010: 31‒43.
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[13] HUTCHEON, Linda. 2006a. A Theory of Adaptation. New York: Routledge, 2006.
[14] HUTCHEON, Linda. 2006b. Faith in the Faithless: An Inter(re)view with Linda Hutcheon (Brad Bucknell). ESC 32 (2006): 2‒3: 157‒171.
[15] JAUSS, H. R. 1982. Towards an Aesthetic of Reception. Minneapolis: University of Minnesota Press, 1982.
[16] JONAS, Susan. 1997. Aiming the Canon at Now. Strategies for Adaptation. In Susan Jonas, and Geoffrey S. Proehl (eds.). Dramaturgy in the American Theatre. A Source Book. Fort Worth: Harcourt Brace College Publishers, 1997: 244‒265.
[17] LEITCH, Thomas. M. 2003. Twelve Fallacies in Contemporary Adaptation Theory. Criticism 45 (2003): 2: 149‒171. | DOI 10.1353/crt.2004.0001
[18] LEVÝ, Jiří. 1977. The Translation of Verbal Art. In Ladislav Matějka, and Irwin Titunik (eds.). Semiotics of Art. Cambridge: MIT Press, 1977: 218‒227.
[19] MCFARLANE, Brian. 1996. Novel to Film: an Introduction to the Theory of Adaptation. Oxford: Oxford University Press, 1996.
[20] MUKAŘOVSKÝ, Jan. 1977. The Individual and Literary Development. In John Burbank, and Peter Steiner (trans. and eds.). The Word and Verbal Art:Selected Essays by Jan Mukařovský. New Haven: Yale University Press, 1977:161‒180.
[21] MUKAŘOVSKÝ, Jan. 1978. Intentionality and Unintentionality in Art. In John Burbank (ed.). Structure, Sign and Function. Selected Essays by Jan Mukařovský. New Haven/London: Yale University Press, 1978: 88‒128.
[22] PAVIS, Patrice. 1982. The Aesthetics of Theatrical Reception: Variations on a Few Relationships. In id. Languages of the Stage: Essays in the Semiology of the Theatre. New York: Performing Arts Journal Publications, 1982: 69‒95.
[23] PAVIS, Patrice. 1985. Production et réception au théâtre: la concrétisation du texte dramatique et spectaculaire [Production and reception of Theatre: Concretization of Dramatic and Spectacular Text]. In id. Voix et Images de la Scène: vers une sémiologie de la réception. Lille: Presses universitaires de Lille, 1985: 233‒297.
[24] PAVIS, Patrice. 1992. Toward Specifying Theatre Translation. In id. Theatre at the Crossroads of Culture. Translated by Loren Kruger. London/New York: Routledge, 1992: 136‒159.
[25] QUINN, Michael. 1989. The Prague School Concept of the Stage Figure. In Irmengard Rauch, and Gerald F. Carr (eds.). The Semiotic Bridge: Trends from California.Berlin: Mouton de Gruyter, 1989: 75‒85.
[26] SANDERS, Julie. 2006. Adaptation and Appropriation. London: Routledge, 2006.
[27] STAM, Robert. 2000. Beyond fidelity: the Dialogics of adaptation. In James Naremore (ed.). Film Adaptation. New Brunswick: Rutgers UP, 2000: 54‒79.
[28] STRIEDTER, Jurij. 1989. Literary Structure, Evolution and Value. Russian Formalism and Czech Structuralism Reconsidered. Cambridge, Massachusetts: Harvard University Press, 1989.
[29] VELTRUSKÝ, Jiří. 1976. Contribution to the Semiotics of Acting. In Ladislav Matějka (ed.). Sound, Sign and Meaning. Ann Arbor: Department of Slavic Languages and Literature, University of Michigan, 1976: 553‒605.
[30] VODIČKA, Felix. 1975. The Concretization of the Literary Work. In Peter Steiner (ed.). The Prague School Selected Writings 1929‒1946. Austin: University of Texas Press, 1975: 103‒133.
[31] WAGNER, Geoffrey. 1975. The Novel and the Cinema. Rutherford, N. J.: Fairleigh Dickinson University Press, 1975.
[2] BERGER, Richard. 2010. Never Seek to Tell Thy Love: E-adapting Blake in the Classroom. In Dennis Cutchins, Lawrence Raw, and Welsh James M. Lanham (eds.). Redefining Adaptation Studies. Toronto: The Scarecrow Press, 2010: 31‒43.
[3] CARTMELL, Deborah, and Imelda WHELEHAN. 2010. Screen Adaptation: Impure Cinema. Basingstoke: Palgrave Macmillan, 2010.
[4] DE MARINIS, Marco. 1993. The Semiotics of Performance. Translated by O'Healy Zaine. Bloomington: Indiana University Press, 1993.
[5] DOLEŽEL, Lubomír. 1988. Literary Transduction. In Yishai Tobin (ed.). The Prague School and its Legacy in Linguistics, Literature, Semiotics, Folklore and the Arts. Amsterdam: John Benjamins, 1988: 165‒176.
[6] FOUCAULT, Michel. 1977. What is an Author? In Donald F. Bouchard (ed.). Language, Counter-Memory, Practice: Selected Essays and Interviews.New York: Cornell UP, 1977: 113‒139.
[7] GALAN, František William. 1984. Historic Structures. The Prague School Project, 1928‒1946. Austin: University of Texas Press, 1984.
[8] GALAN, František William. 1982. Reception History. In Peter Steiner, Miroslav Červenka, and Ronald Vroon (eds.). The Structure of the Literary Process. Studies Dedicated to the Memory of Felix Vodička.Amsterdam/Philadelphia: John Benjamins Publishing Company, 1982: 161‒186.
[9] GALAN, František William. 1976. Toward a Structuralist Literary History: the Contribution of Felix Vodička. In Ladislav Matějka (ed.). Sound, Sign and Meaning.Michigan: Ann Arbor, 1976: 456‒476.
[10] GENETTE, Gérard. 1982. Palimpsestes: la littérature au second degré. Paris: Éditions du Seuil, 1982.
[11] GRYGAR, Mojmír. 1982. The Role of Personality in Literary Development. In Peter Steiner, Miroslav Červenka, and Ronald Vroon (eds.). The Structure of the Literary Process. Studies Dedicated to the Memory of Felix Vodička. Amsterdam/Philadelphia: John Benjamins Publishing Company, 1982: 187‒210.
[12] HAND, Richard J. 2010. It Must all Change Now. Victor Hugo's Lucretia Borgia and Adaptation. In Dennis Cutchins, Laurence Raw, and James M. Welsh (eds.). Redefining Adaptation Studies.Lanham/Toronto: The Scarecrow Press, 2010: 17‒30.
[13] HUTCHEON, Linda. 2006a. A Theory of Adaptation. New York: Routledge, 2006.
[14] HUTCHEON, Linda. 2006b. Faith in the Faithless: An Inter(re)view with Linda Hutcheon (Brad Bucknell). ESC 32 (2006): 2‒3: 157‒171.
[15] JAUSS, H. R. 1982. Towards an Aesthetic of Reception. Minneapolis: University of Minnesota Press, 1982.
[16] JONAS, Susan. 1997. Aiming the Canon at Now. Strategies for Adaptation. In Susan Jonas, and Geoffrey S. Proehl (eds.). Dramaturgy in the American Theatre. A Source Book. Fort Worth: Harcourt Brace College Publishers, 1997: 244‒265.
[17] LEITCH, Thomas. M. 2003. Twelve Fallacies in Contemporary Adaptation Theory. Criticism 45 (2003): 2: 149‒171. | DOI 10.1353/crt.2004.0001
[18] LEVÝ, Jiří. 1977. The Translation of Verbal Art. In Ladislav Matějka, and Irwin Titunik (eds.). Semiotics of Art. Cambridge: MIT Press, 1977: 218‒227.
[19] MCFARLANE, Brian. 1996. Novel to Film: an Introduction to the Theory of Adaptation. Oxford: Oxford University Press, 1996.
[20] MUKAŘOVSKÝ, Jan. 1977. The Individual and Literary Development. In John Burbank, and Peter Steiner (trans. and eds.). The Word and Verbal Art:Selected Essays by Jan Mukařovský. New Haven: Yale University Press, 1977:161‒180.
[21] MUKAŘOVSKÝ, Jan. 1978. Intentionality and Unintentionality in Art. In John Burbank (ed.). Structure, Sign and Function. Selected Essays by Jan Mukařovský. New Haven/London: Yale University Press, 1978: 88‒128.
[22] PAVIS, Patrice. 1982. The Aesthetics of Theatrical Reception: Variations on a Few Relationships. In id. Languages of the Stage: Essays in the Semiology of the Theatre. New York: Performing Arts Journal Publications, 1982: 69‒95.
[23] PAVIS, Patrice. 1985. Production et réception au théâtre: la concrétisation du texte dramatique et spectaculaire [Production and reception of Theatre: Concretization of Dramatic and Spectacular Text]. In id. Voix et Images de la Scène: vers une sémiologie de la réception. Lille: Presses universitaires de Lille, 1985: 233‒297.
[24] PAVIS, Patrice. 1992. Toward Specifying Theatre Translation. In id. Theatre at the Crossroads of Culture. Translated by Loren Kruger. London/New York: Routledge, 1992: 136‒159.
[25] QUINN, Michael. 1989. The Prague School Concept of the Stage Figure. In Irmengard Rauch, and Gerald F. Carr (eds.). The Semiotic Bridge: Trends from California.Berlin: Mouton de Gruyter, 1989: 75‒85.
[26] SANDERS, Julie. 2006. Adaptation and Appropriation. London: Routledge, 2006.
[27] STAM, Robert. 2000. Beyond fidelity: the Dialogics of adaptation. In James Naremore (ed.). Film Adaptation. New Brunswick: Rutgers UP, 2000: 54‒79.
[28] STRIEDTER, Jurij. 1989. Literary Structure, Evolution and Value. Russian Formalism and Czech Structuralism Reconsidered. Cambridge, Massachusetts: Harvard University Press, 1989.
[29] VELTRUSKÝ, Jiří. 1976. Contribution to the Semiotics of Acting. In Ladislav Matějka (ed.). Sound, Sign and Meaning. Ann Arbor: Department of Slavic Languages and Literature, University of Michigan, 1976: 553‒605.
[30] VODIČKA, Felix. 1975. The Concretization of the Literary Work. In Peter Steiner (ed.). The Prague School Selected Writings 1929‒1946. Austin: University of Texas Press, 1975: 103‒133.
[31] WAGNER, Geoffrey. 1975. The Novel and the Cinema. Rutherford, N. J.: Fairleigh Dickinson University Press, 1975.