Stefano Boselli (University of Nevada - Las Vegas)
Stef@****.com (Log-in to reveal)
Drama has long served as a communal mirror to society, reflecting its habits, aesthetics, politics, and cultural norms. This session seeks to discuss the many ways in which drama reveals its intricate relationship to society. Papers for this session are welcomed that explore how drama supports, embodies, and critiques the society in which it was created; how theatre arts, with its variety of tools, successfully conveys the complexities of such a relationship. Papers are also encouraged to consider the topic from the perspective of diverse places, time periods, and genres.
Papers that address the conference theme “Translation in Action” are especially welcome. What are the challenges of translated/adapted drama, texts aimed at becoming action on stage? How does a shift from one chronotope to another – from one society to another, in another time and space – prompt necessary changes in terms not only linguistic but also practical? What transformations does translated and adapted drama entail for characters, situations, performers’ gender, locales, or themes?
Drama has long served as a communal mirror to society, reflecting its habits, aesthetics, politics, and cultural norms. This session seeks to discuss the many ways in which drama reveals its intricate relationship to society. Papers for this session are welcomed that explore how drama supports, embodies, and critiques the society in which it was created; how theatre arts, with its variety of tools, successfully conveys the complexities of such a relationship. Papers are also encouraged to consider the topic from the perspective of diverse places, time periods, and genres.
Papers that address the conference theme “Translation in Action” are especially welcome. What are the challenges of translated/adapted drama, texts aimed at becoming action on stage? How does a shift from one chronotope to another – from one society to another, in another time and space – prompt necessary changes in terms not only linguistic but also practical? What transformations does translated and adapted drama entail for characters, situations, performers’ gender, locales, or themes?