Kontenjan 8 kişi ile sınırlıdır
Atölye Dili: Türkçe-İngilizce
Atölye Süresi: 3 Saat
Atölye Tarihi: 5 Eylül Perşembe 13:00 16:00
Atölyeye Katılım İçin: https://utadconference.com/registration/
Katılım için başvuru zorunludur. Başvurular utadconference@gmail.com adresine mail olarak veya https://utadconference.com/registration/ sayfasındaki form üzerinden gönderilmelidir.
Atölye sonunda katılım belgesi verilecektir.
Atölye Açıklaması:
As theatre translation is a kind of communication and dialogue between cultures and traditions, the
translator needs to take both cultures and traditions into consideration throughout the translation
process. These cultures and traditions are governed by a wide range of factors such as the expectations
of the readers or audiences, publishing policies, state ideologies, and the existing literary image of the
author as well as the creativity and translation competence of the translator. In such cases when the
translation of the Western dramatic text, as in the case of Shakespearean comedies, will be translated
into non-Western cultures that are traditionally rather performative than dramatic, the great gap and
dissimilarity between the two cultures also need to be taken into consideration by the translator. The
written dramatic play that will be received by an inherently performative culture may sometimes place
the translator in a position that involves negotiations that may lead the translation process to such
dichotomous questions as “Should I translate the play with a source or target-oriented approach?”
“Should I prioritize the readability or performability of the play?” “Should I stick to the playwright’s
dramatic style or the performative possibilities of the play?” Though these questions once pre-
occupied theatre translation theorists and practitioners for long decades, it is now clear that the theory
and practice of theatre translation are beyond dichotomies and binary oppositions. Following a short
theoretical introduction to the workshop by Başak Ergil, the workshop will proceed with Ulaş Özgün’s
remarks regarding the practical aspects of theatre translation of his latest translation(s), namely
Macbeth: An Adaptation Attempt to Our Political Landscape (Macbeth: Muhitimize Uyarlama
Denemesi) by Ümit Kıvanç and Sarah Kane’s Bütün Oyunları (Complete Plays). Following this short
introduction, participants will take place in a translation process in which an excerpt from the
beginning of Act 1 of William Shakespeare’s A Midsummer Night’s Dream will be translated to be
later compared with the already existing translations in Turkish.
Dr. Başak Ergil is a translator, editor and Translation Studies scholar with an MA in Boğaziçi University and PhD in Istanbul University, both in the field of Translation Studies. Her main fields of specialization are translation ethics, translation criticism, translational recanonization, cultural/collective memory through translation, translation theory and theatre translation.
Dr. Ulaş Özgün has received his B.A., M.A. and PhD from the Department of English Language and Literature at Hacettepe University. He is currently working as a lecturer at Tekirdağ Namık Kemal University. He has written articles on various topics of English and Scottish literature in the Middle Ages and his translations of poetry and drama have appeared in book format.