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This article focusses on the translator's task as a cultural mediator who has to transfer the nuances of the literary text faithfully. The translation of culture-specific items, such as proverbs, figurative language, reference to religion, mythology or literature, and stylistics, are at the core of the discussion. This paper discusses generally recommended strategies used in translating culture specific items (CSIs), and further analyses and evaluates such strategies as used in two translated Arabic plays; Sa'dallah Wannous's The Glass Café (1978Café ( /2004 and Mamdouh 'Udwan's Reflections of a Garbage Collector (1987Collector ( /2006. The translation strategies used in these two plays are recognized and rationalized in terms of giving a domesticated or a foreignized effect. Besides transferring meaning, the cultural identity of the text is highlighted as a mainstay of the translation process

This article focusses on the translator's task as a cultural mediator who has to transfer the nuances of the literary text faithfully. The translation of culture-specific items, such as proverbs, figurative language, reference to religion, mythology or literature, and stylistics, are at the core of the discussion. This paper discusses generally recommended strategies used in translating culture specific items (CSIs), and further analyses and evaluates such strategies as used in two translated Arabic plays; Sa'dallah Wannous's The Glass Café (1978Café ( /2004 and Mamdouh 'Udwan's Reflections of a Garbage Collector (1987Collector ( /2006. The translation strategies used in these two plays are recognized and rationalized in terms of giving a domesticated or a foreignized effect. Besides transferring meaning, the cultural identity of the text is highlighted as a mainstay of the translation process

Sadallah Wannous (1941-1997), the leading Syrian dramatist, reflected in his plays the condition of the downtrodden fellow-countrymen. He captured the essence of the average Syrian citizen, not as an innately timid soul, but as one cowed by political and economic oppression. This paper provides a case study of two anti-heroes; Hanzala in Hazala's Journey from Unawareness to awakening (1978) and Farouk in A Day of Our Time (1993), who go on two journeys of discovery of the roots of their problems. The journeys in both cases lead to awakening and protest. This study attempts at analyzing the significance of the underdog figure in the light of dramatic and textual analysis and Wannous's own views communicated in his non dramatic writings and the interviews he gave in his lifetime. As a result, the author of this paper concludes that Wannous' anti-heroes delineate the collective psyche of the oppressed civilians. The awakening process delineated in the said plays is an attempt to raise political awareness in the masses of Wannous's audience.

The leading Syrian dramatist, Sadallah Wannous (1941-1997, aimed at creating an original Arabictheater. He theorized about the theater of politicization, which has a progressive political content and is intended to instigate the masses to recognize their plight and take part in changing it. To do this, he used anti-realistic techniques that he borrowed from Brecht's epic theater and established a warm improvised dialogue between the stage and the auditorium. In order to create instantaneous connection with the local audience, the dramatist embraced Arabic history and literary traditions and maneuvered them in order to address contemporary Arabic issues.Eventually, the middle period of Wannous's production (1968)(1969)(1970)(1971)(1972)(1973)(1974)(1975)(1976)(1977)(1978)) is a breakthrough in Arabic theater in which Brechtian epic theater is adapted to Arabic themes and plotlines and is made organically connected to the longings and needs of contemporary Arabaudience. The aim of this study is toprovide a critique of Wannous's indebtedness to Brecht and to local Arabic tradition, on the one hand, and his own ingenuity in creating an indigenous Arabic theater, on the other. To do so, this article locates Wannous's dramatic contribution in the context of Arabic traditions and Brechtian theater and provides an applied study of two plays; An Evening Entertainment for the Fifth of June (1968) and The Adventure of the Slave Jaber 's Head (1970). The study delves into Wannous's use of local theatrical devices such as the storyteller (Hakawati), and Karakoz and traditional and historical plot lines within an overall epic theatrical form. As a conclusion, this article demonstrates that Wannous's dramatic production in the middle period creatively fuses both Brechtian and traditional Arabic theatrical practices and comes out as a distinctly new Arabic theater.