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Pensar Sobre a Tradução de texto a partir de The Night of Iguana, Tennesse Williams e os Teatro Artistas Unidos
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Resumo(s)
A peça The Night of the Iguana (1961), de Tennessee Williams (1911-1983), foi
traduzida para português em duas ocasiões diferentes. A primeira tradução data de 1965
e foi preparada por Idalina Pina Amaro. Apesar de publicada pela editora Europa-
América durante o Estado Novo, a sua representação foi proibida pela censura. A
segunda tradução, da autoria de Dulce Fernandes, foi publicada pela Relógio d’Água em
2015 e aproveitada pela companhia de teatro Artistas Unidos, dirigida por Jorge Silva
Melo, para a preparação de um espectáculo estreado em 2017. A presente dissertação
usa estas experiências distintas, bem como alguns aspectos da vida do dramaturgo
norte-americano, para reflectir sobre algumas questões colocadas no âmbito da tradução
de teatro, incluindo num contexto de censura. Tira-se igualmente partido de um estágio
realizado junto da referida companhia de teatro, para retirar algumas conclusões acerca
da experiência prática de traduzir para o palco e sobre a influência clara da semiótica do
teatro sobre muitos dos autores que têm escrito sobre este tema.
Tennessee Williams’s The Night of the Iguana (1961) was translated into Portuguese on two different occasions. The first translation dates from 1965 and was by Idalina Pina Amaro. Although this translation was published by Europa-América during the Dictatorship, its actual performance was forbidden by the censors. The second translation, by Dulce Fernandes, was published by Relógio d’Água and used by the theatre group Artistas Unidos, led by Jorge Silva Melo, to stage the play in 2017. This dissertation uses both of these cases, as well as several aspects of the playwright’s life, to address some of the issues typically raised in the field of translation for the theatre, including in the context of censorship. I also avail myself of my time as an intern with this group to draw some conclusions about the practical experience of translating for the stage and also about what is clearly an influence of theatre semiotics on several theorists who have written on this topic.
Tennessee Williams’s The Night of the Iguana (1961) was translated into Portuguese on two different occasions. The first translation dates from 1965 and was by Idalina Pina Amaro. Although this translation was published by Europa-América during the Dictatorship, its actual performance was forbidden by the censors. The second translation, by Dulce Fernandes, was published by Relógio d’Água and used by the theatre group Artistas Unidos, led by Jorge Silva Melo, to stage the play in 2017. This dissertation uses both of these cases, as well as several aspects of the playwright’s life, to address some of the issues typically raised in the field of translation for the theatre, including in the context of censorship. I also avail myself of my time as an intern with this group to draw some conclusions about the practical experience of translating for the stage and also about what is clearly an influence of theatre semiotics on several theorists who have written on this topic.
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Jorge Silva Melo Tennessee Williams Artistas Unidos Censura Tradução Teatro Censorship Translation Theatre