Pieces of Piñera
Arcola Theatre
Sunday October 4 2009
Directed by Gráinne Byrne and Katarzyna Deszcz
Translated by Kate Eaton
Additional Support: Kirsty Housley
Sunday 4 October 2009
Starting time: 7pm
Join us for a welcome drink from 6.30pm
STUDIO 1
Tickets £10 / £8
Booking: www.arcolatheatre.com
Or call: 020 7503 1646
Last week three members of the Out of the Wings team, namely David Johnston, Jonathan Thacker and Kathleen Jeffs traveled to New York for the Association for Theatre in Higher Education’s 2009 conference. Our seminar was a great success; 23 participants of our wiki-conversation which has been ongoing for the past year were in attendance. There never seems to be enough time to have the conversations, which seem to be over as soon as they begin, but the encounter continued with a post-seminar discussion and we hope it will continue into the future. Our preparatory conversation is available for viewing online. For the main site see the Main Wiki, and see here for our specific 2009 New York Seminar.
Specific thanks go to the Association for Hispanic Classical Theatre, particularly Ben Gunter and Susan Paun de Garcia, without whom the seminar would not have been possible.
For more information about the Association for Theatre in Higher Education see the ATHE Website or this year’s conference site, Risking Innovation.
Radio New Zealand currently has 4 short programmes on translation available to download on its website. They include items on literary, poetry, and cultural translation. There is also an item on the relationship between the author and the translator.
Click the ‘Download MP3’ link below each item if the title links don’t load.
Translating Golden Age drama brings up many questions of interpretation, form and meaning; but whether to translate the comedia in rhyming verse or not is still a heated debate. One translator, Gregary Racz, believes strongly that the comedia should be translated in verse, a view which has also been taken by Philip Osment in his rhyming, metrical Pedro the Great Pretender for the RSC’s Spanish Golden Age season, and by Victor Dixon in both his translations and his scholarship. Some translators, such as David Johnston, invent their own forms, keeping a regular metre but rhyming only in selected passages, such as sonnets. I invite your comments and views, readers; here is an article by Racz to get the conversation started (see p. 4-6 of this issue of ‘The Gotham Translator’).
The Case Against Preserving Meter and Rhyme in Poetic Translation: Theory or Practice?
As Contemporary Theatre Review has expanded (with an allocation for 2009 of 136 pages per issue), so have the simple administrative tasks such as logging in of submissions, preparing publicity copy, routine communications with the publishers, etc. The Vice-Chancellor of the University of London has created a unique opportunity for a doctoral studentship based in the Department of Drama at Queen Mary to act as editorial assistant during their time as a registered student. As part of their scholarship, the editorial assistant will agree to offer 6-8 hours per week of administrative support to CTR.
This research studentship provides a one-off opportunity for a suitably qualified individual to undertake doctoral research on some aspect of international theatrical cultures working within the excellent provisions for graduate study in Drama offered by Queen Mary. The student will also play a crucial role in building further an international journal with exciting plans for the coming three years.
Applicants should be holders of a good first degree from any university, with relevant MA studies completed or close to completion, and should be competent readers and writers of at least one language other than English.
Applicants must complete a Queen Mary University of London postgraduate application form, which can be downloaded from:
http://www.qmul.ac.uk/postgraduate/apply/index.html
In addition, they should provide a 500 word statement explaining why they are applying for this particular scholarship and why they feel equipped to take on the role of editorial assistant on the journal.
The application form should be marked clearly with “CTR APPLICATION DRAMA” and sent to the address at the top of the form. Applications may only be sent to Postgraduate Admissions and not directly to members of academic staff.
Further inquiries may be made to Dr. Michael McKinnie, Director of Graduate Studies in Drama at Queen Mary, at: m.mckinnie@qmul.ac.uk
The deadline for receipt of applications at Queen Mary is 3 July 2009.
Interviews are expected to be held on 10 July 2009 (date subject to final confirmation).
Department of Drama, School of English and Drama, Queen Mary, University of London
and
The Gran Teatre del Liceu, Barcelona
Cultural Branding, National Identity and International Visibility: Spanish Directors at Barcelona’s Gran Teatre del Liceu: 1999-2011
This Collaborative Doctoral Award offers an exciting opportunity to pursue a fully funded PhD with a leading international centre for research in cultural politics and theatrical performance with one of the world’s foremost opera houses. The research project will examine the ways in which the cultural branding of the Liceu through the work of Spanish directors has defined wider debates around the identity of the theatre and its relationship to Catalan nationalism and the regeneration of the Raval quarter of the city.
How to Apply
Applicants must complete a Queen Mary, University of London postgraduate application form, which can be downloaded from:
http://www.qmul.ac.uk/postgraduate/apply/index.html
In addition to the details specified there, they should supply full details of the Master’s course completed or to be completed. In a statement of no more than 500 words, applicants should explain how their current academic interests relate to the proposed thesis, and indicate how they might refine the project in order to achieve their own research aims. They should also submit a piece of written work (an essay or a chapter, an extract from a dissertation) or a portfolio of reviews or interviews of not more than 5,000 words in support of the application. Award holders should inform referees about the distinct nature of the CDA project so that they may take this into account when writing letters of reference.
The application form and supporting materials should be marked clearly with “AHRC CDA APPLICATION DRAMA/LICEU” and sent to the address at the top of the form. Applications sent directly to Professor Delgado or Mr Matabosch by post or email are not acceptable.
The deadline for receipt of applications at Queen Mary is Monday 8 June 2009.
The London theatre company Metta Theatre is proud to present an immersive production of Lorca’s Bodas de sangre (‘Blood Wedding)’ in English translation, performed at the Southwark Playhouse this summer, 21 July- 15 August 2009.
For further details see the production website.
American Society for Theatre Research
November 11-15, 2009
San Juan, Puerto Rico
THEATRE, PERFORMANCE, DESTINATION
There is a Golden Age Working Group, New Approaches to Plays from the Spanish Golden Age: Destiny, Nation Formation, & Puerto Rican Perspectives
The Working Group will divide into three teams: one working on Lo fingido verdadero, another on Fuente Ovejuna, and finally on Los melindres de Belisa. See the ASTR 2009 Call for Participants.
Questions regarding this Session may be directed to the conveners at astr_gold_2009@yahoo.com
For general information please see the Conference Website.
This symposium seeks to investigate performative trajectories, without neglecting to map the histories and genealogies that inform them. It will explore the ways in which our critical tools – such as postcolonialism and interculturalism – can help us to understand a new cosmopolitan geography and the power relations it reflects. We are interested in finding the spaces where local performance, global performance, the theatre of the centre and the theatre of the margins overlap. In analysing these spaces we hope to open up a discourse that explores contemporary conceptions of community and universality, and to develop critical schemata to deal with race, class, nationality and gender in performance.
Keynote Speakers: Peter M Boenisch, University of Kent and Silvija Jestrovic, University of Warwick.
The areas of interest for our panelists, performers and workshop coordinators might involve, but are by no means limited to:
* Global performative frameworks/networks
* The significance of cultural boundaries and national borders to performance
* Postcolonial stages
* Theatres of exchange, surrogation and/or substitution
* Tracing trajectories and accounting for histories in intercultural theatre practice
* Cosmopolitan performance
* Community theatre and globalization
Please send 300-word abstracts for papers and workshops along with a brief biography by 13 April to the conference organisers at:mappingperformance@rhul.ac.uk.
Mapping Performance will form the starting-point for the Autumn 2008 issue of Platform, a postgraduate eJournal of Theatre and Performing Arts. Conference participants and delegates are invited to submit papers for this issue: http://www.rhul.ac.uk/drama/platform/.
Conference Organizers: Emer O’Toole and Mara Lockowandt
This short film season offers both a consideration of the varied ways in which his plays have been envisaged for the screen – from Carlos Saura’s Bodas de sangre / Blood Wedding (1981) to Joaquín Oristrell’s Los abajo firmantes / With George Bush on My Mind (2003) – and explores the fascination that his life, loves and death have held for contemporary filmmakers including Juan Antonio Bardem and Paul Morrison. Ever wondered why Lorca exerts such a powerful hold on the cultural imagination? Well, ‘Lorca on Film’ offers a few answers in a cinematic journey that moves from Granada to Paris and from surrealism to the biopic, in presenting a unique perspective into the life, death and work of one of Spain’s most celebrated writers.
Curator Maria M. Delgado
Producer Joana Granero
