Synopsis
This collection provides the first full-length investigation of the œuvre of one of Britain’s leading dramatists: Timberlake Wertenbaker. By considering the polyglot playwright’s theatre from translations and adaptations to new plays as a dynamic continuum of «translations and transformations», Maya Roth and Sara Freeman create an intriguing, focused frame for understanding Wertenbaker’s work as distinctly cross-cultural, theatrically rich, and intertextual, providing a prescient case study of the translational turn emerging in international theatre today. The contributors investigate translation theory and practice through Wertenbaker’s diverse linguistic and genre translations – from French, ancient Greek, and Italian to English, and from myth, history, classics, fairytale, and literature to the stage. Interrelated chapters by scholars and artists from varied countries, language traditions, and disciplines use performance studies, comparative literature, feminist theory, and cultural anthropology to position Wertenbaker’s theatre as a critical nexus for analyzing – and imagining – cross-historical dialogues with contemporary audiences and our plural legacies.
Thanks to its substantive engagement with the ethics, theories, and collaborative practices of theatrical translation and adaptation more broadly, and its equally rigorous examination of Wertenbaker’s hybridic politics and poetics, this collection can serve as a useful resource for scholars and artists, both.
About the Author
The Editors: Maya E. Roth fills an endowed professorship in Theater & Performance Studies at Georgetown University, where she was Program Director 2003-07. She teaches culture and performance, world theater history, and dramaturgy. An expert on the work of Timberlake Wertenbaker, she also publishes on spatiality and feminist performance in Anglophone drama. She served as the first Artistic Director of the Davis Center at Georgetown and received her Ph.D. from the University of California, Berkeley in 2001.
Sara Freeman is Assistant Professor of Theatre at the University of Oregon. She teaches theatre history, dramatic literature, and dramaturgy. She publishes about the history of British alternative theatre and contemporary women playwrights and is the 2007 recipient of an honorable mention from the American Society of Theatre Research’s Gerald Kahan Scholars Prize for an article in Theater Survey. She received her doctorate from the University of Wisconsin-Madison in 2002.
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