Acting Chekhov in Translation: 4 Plays, 100 Ways

by Robin Beth Levenson

Overview

This unique study explores the history and approaches of translation, the notion of "action" from Aristotle to Adler, and Anton Chekhov's inimitable dramaturgy. English translations, adaptations, and versions are each considered from the actor's points of view, from the page to the stage.

Product Details

ISBN-13:	9781433152535
Publisher:	Peter Lang Inc., International Academic Publishers
Publication date:	12/28/2018
Pages:	310
Product dimensions:	5.91(w) x 8.86(h) x (d)

About the Author

Robin Beth Levenson completed her BA in French and dramatic art at the University of California, Santa Barbara; her MFA in acting at the University of California, Riverside; and her PhD in music and performing arts at New York University. She has written articles for Communications From the International Brecht Society on Woyzeck and The Seagull, for Dialogues in Social Justice: An Adult Education Journal on Ta-Nehisi Coates, and for the New York Society for General Semantics on language and George Gurdjieff, as well as publications for the New York State Communication Association, where she is also on the executive board. She has acted professionally in Los Angeles and New York, on stage and in film. She is currently Assistant Professor of Communication at LaGuardia Community College, CUNY. Her research interests include how language influences thought and behavior and the nature of performance.

Table of Contents

List of Illustrations – Acknowledgements – Introduction – Translation – Modern Approaches to Translation – The Translator as Artist – Action – Chekhov’s Dramaturgy – The Seagull – Uncle Vanya – The Three Sisters – The Cherry Orchard – A Body of Beauty – Bibliography – Appendix A: Glossary – Appendix B: The Cited Plays and Their Translators, 145 Renditions – Index.

Editorial Reviews

"This book will prove to be an extremely useful source to anyone interested in the ominous task of not just translating language, but of translating culture, and the consequent shaping of meaning for the target audience of a particular performance. It will, in addition, become essential reading, and an invaluable hermeneutic tool, for theatre practitioners and educators (particularly directors, acting teachers and actors) who find themselves working on one of Chekhov’s four final masterpieces." —Julian Jones, Stanislavski Studies

From the Publisher