Academic literature on the topic 'Servitore di due padroni'

Abstrakt Lo scopo dell’articolo è quello di presentare le traduzioni polacche di tre lazzi goldoniani presenti nella commedia Il servitore di due padroni. Si tratta di una delle pièces più significative e note del drammaturgo veneziano e ciò giustifica il fatto che molti autori si siano cimentati nella traduzione del testo. Nell’analisi vengono esaminati esempi provenienti da cinque versioni polacche della commedia, di cui quattro inedite (Trzciński 1921, Boyé 1927, Piszczek e Skibiński 1980, Wasilewska 2015), e di una traduzione pubblicata dalla casa editrice Państwowy Instytut Wydawniczy, ossia quella di Jachimecka (1955). La prima parte dell’articolo è dedicata a vagliare alcuni lazzi goldonani, mentre la seconda è un’analisi delle versioni in lingua polacca della commedia di Goldoni. Lazzi Goldoniego w polskiej odsłonie. Analiza wybranych polskich tłumaczeń komedii "Sługa dwóch panów" Artykuł prezentuje analizę propozycji tłumaczeń trzech lazzi (gagów) obecnych w komedii Carla Goldoniego „Sługa dwóch panów” („Il servitore di due padroni”). Omawiana sztuka jest uważana za jedną z najważniejszych komedii weneckiego twórcy i doczekała się kilku przekładów na język polski, z których pięć zostało wykorzystanych w artykule. Cztery z wybranych przekładów to tłumaczenia przygotowane na potrzeby sceny (Trzciński 1921, Boyé 1927, Piszczek i Skibiński 1980, Wasilewska 2015), jeden (Jachimecka 1955) został wydany nakładem Zakładu Ossolińskich. Pierwsza część artykułu to szczegółowa analiza wykorzystanych przez Goldoniego w sztuce lazzi, druga zaś to analiza wyborów tłumaczy, którzy zdecydowali się na transfer owych lazzi do języka i kultury polskiej.

This work attempts to bring together the descriptive concerns of translation studies with the awareness of the multisemiotic nature of the dramatic text. The question of the relationship between written text and performance, which is central to theatre semiotics and to the most recent debates on drama and theatre translation, complements the descriptive approach to the analysis of translated texts. By bringing in the dimension of performance as part of the source material that is carried over in the exchange of dramatic texts across cultures, this work attempts to provide a model for the analysis of dramatic texts which are very reliant on performance practices. The study thus takes the form of a historical investigation of the translation and reception of a semiotically highly complex text: Goldoni's Servitore di due padroni. The case studies of four successive translations of II servitore in Britain explore the changing theatrical and literary norms to which translators through the ages have been bound by the expectations both of their audiences and the literary/theatrical establishment. Each chapter is based on the use of archival material and introduces a different type of translation: covert translation (Chapter Four), philological translation aimed at the acceptance of the text within the literary canon (Chapter Five), translation into dialect as a way of reclaiming national identity (Chapter Six), and collaborative translation where translator, adaptor, director and actor are seen to be contributing to the rewriting of the text in translation (Chapter Seven). Looking at translation from the perspective of the relationship between text and performance makes the study of the translation of drama very relevant to current debates in translation studies as a whole. By questioning the completeness and authority of the source text and showing how performance traditions, acting styles as well as travelling productions affect the translation and reception of dramatic texts, the exploration of II servitore in translation challenges any unproblematic notions of source text from which to begin the process of translation and offers a model for the study of translated drama that allows for the fluidity of the correlation ofperformance and textuality.

The primary goal of the presented PhD project is a study of Il servitore di due padroni [Servant of Two Masters] by Carlo Goldoni in Polish translation to analyse textual components that contribute to the theatrical potential of the play. One of the most celebrated Italian comedy writers and the founder of theatre reform, Carlo Goldoni has been researched by only several Italian philologists in Poland to date. Goldoni's works have been brought to Polish readers by Brahmer, Żaboklicki, Łukaszewicz, and Dygul. Only several studies are available in print and no researcher has offered a detailed account of Goldoni's comedies in Polish translation. Research on translations for the theatre is a relatively new branch of translation studies which nonetheless has been pursued by a number of eminent scientist, including Bassnett, Veltrusky, Pavis, Brisset, Heylen, Aaltonen, and Totzeva. The hypothesis of the research constructed for the purpose of this project assumes that Goldoni's play, being deeply embedded in the Italian theatre tradition, notwithstanding the obvious difficulty with transferring it into other cultures and, especially, to contemporary audiences, carries theatrical potential which is powerful enough to challenge its position within an ossified système d'antan. I am using the term theatrical potential in my project to avoid any unnecessary confusion. Theatrical potential, which is sometimes called theatricality, in case of analysed play is nothing but a theatrical convention which is deeply characteristic of Goldoni's time. In his Dictionnaire du théâtre (1980), Pavis described theatricality as a term which is both aesthetically and ideologically evolving, which precludes any attempts at its definition. The claim provoked a polemic from a number of researchers, including Roland Barthes. The definition of theatricality proposed by Barthes in his Essais critiques relates the term to performance and performance only. However, I would like to define theatricality as a set of components which exists prior to its staging, or something that Ziomek called a “being-toward-theatre”. The definition has been adopted by many researchers but, in my opinion, the one that fits in with my analysis best is the one created by Sophia Totzeva. As a Bulgarian scholar claims the theatrical potential “refers to a semiotic relation between the verbal and nonverbal signs and structures of the performance” which I tried to show in my analysis of original text and its Polish translations. Polish translations of Goldoni's Il servitore di due padroni [Servant of Two Masters], including those dating back to 20th-century as well as most contemporary renderings, can bring the new (and some of them have already done so) to our culture. Their impact can be explained through heightened awareness on the part of the contemporary theatre audience/readership, which allows them to embrace the subsequent components of the Italian theatre tradition (in this particular case, those deriving from commedia dell'arte and the 18th-century Italian theatre traditions) provided that a translator manages to convey from the original a large number of components which contribute to the theatrical potential of the comedy. Although it has never been fully pursued, the reflection on Goldoni's oeuvre using the notion of theatrical potential seems to be legitimised by the author himself. Goldoni would repeatedly assert that he wrote his plays for the stage. His early works were conceived as canovacci, and only later were they fully recorded and edited for publication purposes. It is thus theatricality and not literariness that guided Goldoni throughout his career as a playwright. This dissertation first presents methodological remarks, in which I am examining theatre translation theories used in further analysis, with particular reference to theatrical potential and the challenges of translating humour and rendering the strangeness of the foreign. The work is divided into two parts: the first part has theoretical-historical character, the second one - analytical one. In the historical part which is divided in three chapters I am drawing the background of the occurrence of the comedy, tilting above theatre customs in 18th-century Venice and I am presenting in detail fates of the text. The reader will find here also remarks concerning the two most important staging for the Polish reception of Il servitore di due padroni [Servant of Two Masters] - first performed by Max Reinhardt, second, more essential from a Polish point of view, created by Giorgio Strehler. The second part of the dissertation contains analysis of chosen Polish translations of the comedy. The introduction reviews history of Polish translations of examined play. Chapter 1 presents Edward Boyé's translation and Leon Schiller's script that was based on it. The translation by Edward Boyé with Leon Schiller's handwritten changes was made available to me by Muzeum Teatralne in Warsaw. Chapter 2 examines the translation by Zofia Jachimecka - the only translation of Goldoni's comedy that was published in Poland. The purpose of this chapter, which I belive has been reached, was also to present the translator's figure and to re/deconstruct it. Furthermore I focus on Krystyna Skuszanka's performance based on Jachimecka's translation, which is deeply embedded in socialist performance aesthetics however trying to fight with the official theatre narration in PRL. Chapter 3 investigates two recent translations both made for Teatr Dramatyczny in Warsaw. The first one was prepared by Anna Wasilewska who decided to follow Witold Gombrowicz's steps while introducing neologisms into the text. The second one was created by Jan Polewka and was the one chosen to be staged by Teatr Dramatyczny's director - Tadeusz Bradecki. Both modern translations were made available to me by very authors which agreed also to answer a few questions concerning work on Goldoni's play. In all conducted analysis I focus on marks of "włoskość" ["italianity"] and ways of transferring humour. As shown in conclusions drawn in the very last part of the dissertation the main aims of the PhD project have been reached.