RESUMENLa doble naturaleza del texto dramático, que se erige en texto literario y guión teatral para su puesta en escena, hace que, elementos lingüísticos aparte, entren en juego factores no verbales con un peso específico en el proceso traductor. Esta singularidad ha propiciado el empleo de términos tales como "traducción", "adaptación" o "versión" para referirse precisamente al particular trasvase lingüístico, cultural y escénico que supone la traducción de obras de teatro. Sin ánimo de plantear dónde debe trazarse la frontera de lo que constituye o no "traducción", este artículo pretende dejar constancia de la utilización de estos y otros conceptos semejantes en el ámbito dramático, así como plantear el debate sobre la necesidad de unificar criterios terminológicos dentro de los llamados Estudios de Traducción Teatral.Palabras clave: Estudios de traducción, traducción dramática, adaptación, versión. Translation, adaptation, or version?: Plethora of terms within the area of drama translation ABSTRACTThe double nature of the play text as both a literary text and a play script whose ultimate aim is its mise en scène conveys a series of linguistic and extralinguistic factors that have a say in the translation process. This singularity has brought about the use of different terms -"translation", "adaptation", "version"-precisely to refer to the particular linguistic, cultural and stage rendering that is inherent to play translation. Far from trying to fix the limits of what "translation" should be in theatre, this article aims to show the use of these and other similar concepts in the field in an attempt to invite discussion about the need to standardize terminological criteria within the so-called Drama Translation Studies.

From 1660 to c 1700, England set her eyes on Spain and on the seventeenth-century Spanish comedy of intrigue with an aim to import new plots and characters that might appeal to the Anglo-Saxon audience. As a consequence, Hispanic drama in translation enjoyed a period of relative popularity never to be repeated until the turn of the twenty-first century. By analysing a corpus of translated classical Spanish plays intended for performance, this book aims to show the strategies chosen by the translators concerned. Hence, many aspects present in the source texts are naturalized in order to meet the demands of the target culture, while others are kept to clarify the “Spanishness” of the text. This study draws significant conclusions on the validity of these mechanisms within the specific framework of Drama Translation Studies. This volume will be of interest to Hispanists, drama translation scholars and theatre practitioners.

No abstract

No abstract