What literary original is “pleading for”: Interlingual and intersemiotic survival
DOI:
https://doi.org/10.33910/2686-830X-2020-2-2-93-103Keywords:
drama, Chekhov, “Three sisters”, interlingual translation, intersemiotic translation, interpretation, adaptation, center of translation attraction, secondary and tertiary textAbstract
The article is devoted to the analysis of existence of a “strong” drama text of Russian culture functioning in various verbal and nonverbal forms. The destiny of Chekhov’s play “Three sisters” is studied regarding translations into the languages of the world and intersemiotic translations in the “languages” of other arts, allowing the further development of the original, its preservation it in the cultures of target languages. Different types of translation provide the aesthetic evolution of information and energy of the original, are essential form of its existence and result into the expansion of the boundaries of text translatability and increase the degree of its “translatedness”. The history of “strong” text of culture is a continuous process of its interpretation by means of various semiotic systems of culture. The “strength” of a play text is based on the presence of valuable aesthetic information generated by cultural information and memory, which enhance an aesthetic impact on the recipients of native and foreign cultures. The deliberate focus on the staging embodiment dictates the need for regular creation of new play translations for planning theatrical productions. The generation of translations is due to both the intentions of theater and film directors, as well as the obvious need to interpret the drama in the context of theatrical processes of the 21st century. Chekhov’s original text and translations of various semiotic nature form an extensive center of translation attraction. Interlingual and intersemiotic translations of the play create a complex multidimensional and multimedia text space, which reflects the explicit and implicit information parameters of the original. Translated versions of the drama text could have secondary (translation for themselves), tertiary (translation for the recipient) and other subsequent statuses. Numerous versions of the play provide it with a permanent status of “relevant” classics and expand its stage potential, inducing the possibility of its new adaptations and interpretations. The inevitable variability of the original in translations makes it possible to disclose its information potential more fully.
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