Re: language
santiago pereson (jaco@overnet.com.ar)
Thu, 24 Oct 1996 00:39:19 -0300
>On Tue, 22 Oct 1996, santiago pereson wrote:
>
>> >> >I have the fear that translation would be huge technical probleme
>> >> >on the one hand. On the other hand it would mean for the
>> >> >performance to loose some of the worldwide idea - because it would
>> >> >be very differnt in every country.
>> >>
>> >> one hand: why should it be a 'huge technical problem?'. i think it's
>> >> one of the most translated texts in history, so a good translation
>> >> sure can be found in the different languages.
>> >>
>> >
>> >the technical problem / question would be:
>> >
>> >should we only transfer light than? means: the text is ALWAYS spoken
>> >in ever country (no audiotransfer needed) so only the actors would be
>> >virtual
>> >
>> >or
>> >should we transfer ALL and so to say speak in the language where the
>> >REAL actor is placed - so that the people on the stages where they
>> >only see the light would know on which part of the world the play is
>> >performed
>>
>> i was thinking about each actor speaking his mother tongue, each actor's
>> voice *travelling* around the world, all voices getting mixed up on each
>> stage. i.e.:
>>
>>
>> >ULISES (buenos ayres):
>> > "Oh, hija! No podrias llevarme al palacio de Alcinoo, que reina
>>sobre
>> >estos hombres? Soy un forastero que, despues de padecer mucho, he
>>llegado aca,
>> >viniendo de lejos, de una tierra apartada; y no conozco a ninguno de los
>> >hombres que habitan esta ciudad y estos campos."
>> >
>> >MINERVA (perth): --disguised as a little girl carrying a pitcher.
>> > "Yes, father stranger, I will show you the
>> >house you want, for Alcinous lives quite close to my own father. I
>> >will go before you and show the way, but say not a word as you go, and
>> >do not look at any man, nor ask him questions; for the people here
>> >cannot abide strangers, and do not like men who come from some other
>> >place. They are a sea-faring folk, and sail the seas by the grace of
>> >Neptune in ships that glide along like thought, or as a bird in the
>> >air."
>> (book VII)
>>
>> this would be heard in the six cities. actors (ULISES & MINERVA) would only
>> be seen in buenos ayres (ULISES) and perth (MINERVA). in the rest of the
>> cities a light speaks to the other (!!!). Stereo position of the voice
>> should be taken in account (so people hear which is which). in perth
>> MINERVA speaks to a light (!!!). [love this...]
>>
>> un abrazo,
>>
>> yaco.
>>
>> santiago
>> mailto:jaco@overnet.com.ar
>> http://www.geocities.com/Paris/3721/
>
>Santiago:
> Sounds like a great idea, but remember that Odysseus is travelling
>around the world--he should not be forced to stay rooted in one place,
>speaking only one language. The character of Odysseus should be a
>portrayed as universal, the world traveler. He may be a tourist, but at
>the very least he should know the rudiments of the tongue in the place he
>is in. So Minerva speaking to a light might sound good, but how well does
>it bring about the play itself? We must not lose the play itself inside
>all of the technical stuff we could do.
i wasn't thinking obout any character being 'stuck' with any actor or
place. my idea was that roles would be constantly changing, so odysseus
(and all the rest) are constantly moving/travelling thru stages and
internet. aoudeis a perpetual odyssey being performed nowhere or everywhere
sometime.
> Although, as for speaking to a light, why not have the gods reside
>in a certain place all together, sort of a Mt. Olympus? Have them speak to
>each other on that stage, but all mortal characters who communicate with
>the gods speak to such a light as you describe...
>
>Kinch
think that's quite a good idea. but i still like the original idea of only
one actor on each stage.
saludos,
santiago
mailto:jaco@overnet.com.ar
http://www.geocities.com/Paris/3721/