The Breach and the Observance

Table of contents

  • Acknowledgements
  • Introduction
  • Chapter 1: Reasons for retranslation
  • 1.1 Previous theories on retranslation: ageing texts and perfect translation
  • 1.2 Retranslation as a norm conflict
  • 1.3 Agents in (re)translation: commissioner, audience and translator
  • 1.4 Retranslation in the context of the theatre
  • Chapter 2: Differing norms in theatre translation
  • 2.1 Deducing norms from a translation
  • 2.2 Theatre translation as a particular area of translation studies
  • Figure 1: Possible options of a theatre translator
  • Figure 2: Series of concretisations
  • 2.3 The interplay between theatre maker and translator
  • 2.4 The translator’s material: length and the possibilities of rewriting
  • 2.5 The domestic and the foreign
  • 2.6 The audience’s reaction to retranslation: debates as a sign of transgression
  • Chapter 3: Case studies of differentiation: Hamlet retranslations on the Dutch stage
  • 3.1 General remarks on the production of Hamlet translations between 1777 and 2001
  • 3.2 1786 - Retranslation of Ducis’s Hamlet by Zubli: propriety and patriotism
  • 3.3 1882 - Burgersdijk’s translation: the problems of staging a direct translation
  • 3.4 1907 - Van Looy’s retranslation: director’s theatre and commissioned translation
  • 3.5 1957 - Bert Voeten’s retranslation: passive retranslation as active differentiation
  • 3.6 1966 - Staging of Marowitz’s Hamlet: theatre makers as co-authors of the text
  • 3.7 1983 - Claus and Decorte’s ‘tradaptations’: Belgian influence on the Dutch theatre
  • 3.8 1986 - Komrij’s retranslation: retranslation as a strategy and a trend
  • 3.9 1991 - Boonen’s retranslation: individuality as a reason for differentiation
  • 3.10 1997 - Boermans’s rewriting of Voeten’s translation
  • Appendix A: Translations of Hamlet in performance
  • Appendix B: Hamlet performances
  • Select bibliography
  • Index
  • Samenvatting
  • Curriculum vitae

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