This innovative collection showcases the interconnectedness of translation and the performing arts, drawing on examples spanning languages, eras, and modes of performance to argue for the importance of re-envisioning translation beyond writing.

Featuring contributions from established and emerging scholars, the volume builds on recent epistemological shifts from a genre-based view of translation toward a material-based approach interested in how performance and embodiment shape translation. Chapters highlight the ways in which, in the nexus of translation and performing arts, we can situate the cross-cultural encounters and transnational exchanges that underpin translation beyond the ideology of print, and help us to better understand the international circulation of performative works. The volume covers a wide range of embodied practices from immersive theatre and intercultural opera to dance and sign language performance, while also incorporating key perspectives from interviews with active practitioners. Taken together, the collection makes the case for a more nuanced understanding of translation, one which accounts for the relationships between translation and the myriad forms of performance that permeate daily life.

This book will be of particular interest to students and scholars in translation studies, visual culture, theatre translation, performing arts, literary studies, media studies, and reception studies.

This innovative collection showcases the interconnectedness of translation and the performing arts, drawing on examples spanning languages, eras, and modes of performance to argue for the importance of re-envisioning translation beyond writing.

Featuring contributions from established and emerging scholars, the volume builds on recent epistemological shifts from a genre-based view of translation toward a material-based approach interested in how performance and embodiment shape translation. Chapters highlight the ways in which, in the nexus of translation and performing arts, we can situate the cross-cultural encounters and transnational exchanges that underpin translation beyond the ideology of print, and help us to better understand the international circulation of performative works. The volume covers a wide range of embodied practices from immersive theatre and intercultural opera to dance and sign language performance, while also incorporating key perspectives from interviews with active practitioners. Taken together, the collection makes the case for a more nuanced understanding of translation, one which accounts for the relationships between translation and the myriad forms of performance that permeate daily life.

This book will be of particular interest to students and scholars in translation studies, visual culture, theatre translation, performing arts, literary studies, media studies, and reception studies.

This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.

This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.

This innovative collection showcases the interconnectedness of translation and the performing arts, drawing on examples spanning languages, eras, and modes of performance to argue for the importance of re-envisioning translation beyond writing.

Featuring contributions from established and emerging scholars, the volume builds on recent epistemological shifts from a genre-based view of translation toward a material-based approach interested in how performance and embodiment shape translation. Chapters highlight the ways in which, in the nexus of translation and performing arts, we can situate the cross-cultural encounters and transnational exchanges that underpin translation beyond the ideology of print, and help us to better understand the international circulation of performative works. The volume covers a wide range of embodied practices from immersive theatre and intercultural opera to dance and sign language performance, while also incorporating key perspectives from interviews with active practitioners. Taken together, the collection makes the case for a more nuanced understanding of translation, one which accounts for the relationships between translation and the myriad forms of performance that permeate daily life.

This book will be of particular interest to students and scholars in translation studies, visual culture, theatre translation, performing arts, literary studies, media studies, and reception studies.

This innovative collection showcases the interconnectedness of translation and the performing arts, drawing on examples spanning languages, eras, and modes of performance to argue for the importance of re-envisioning translation beyond writing.

Featuring contributions from established and emerging scholars, the volume builds on recent epistemological shifts from a genre-based view of translation toward a material-based approach interested in how performance and embodiment shape translation. Chapters highlight the ways in which, in the nexus of translation and performing arts, we can situate the cross-cultural encounters and transnational exchanges that underpin translation beyond the ideology of print, and help us to better understand the international circulation of performative works. The volume covers a wide range of embodied practices from immersive theatre and intercultural opera to dance and sign language performance, while also incorporating key perspectives from interviews with active practitioners. Taken together, the collection makes the case for a more nuanced understanding of translation, one which accounts for the relationships between translation and the myriad forms of performance that permeate daily life.

This book will be of particular interest to students and scholars in translation studies, visual culture, theatre translation, performing arts, literary studies, media studies, and reception studies.

This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.

This interdisciplinary, transhistorical collection brings together international scholars from English literature, Italian studies, performance history, and comparative literature to offer new perspectives on the vibrant engagements between Shakespeare and Italian theatre, literary culture, and politics, from the sixteenth to the twenty-first century. Chapters address the intricate, two-way exchange between Shakespeare and Italy: how the artistic and intellectual culture of Renaissance Italy shaped Shakespeare’s drama in his own time, and how the afterlife of Shakespeare’s work and reputation in Italy since the eighteenth century has permeated Italian drama, poetry, opera, novels, and film. Responding to exciting recent scholarship on Shakespeare and Italy, as well as transnational theatre, this volume moves beyond conventional source study and familiar questions about influence, location, and adaptation to propose instead a new, evolving paradigm of cultural interchange. Essays in this volume, ranging in methodology from archival research to repertory study, are unified by an interest in how Shakespeare’s works represent and enact exchanges across the linguistic, cultural, and political boundaries separating England and Italy. Arranged chronologically, chapters address historically-contingent cultural negotiations: from networks, intertextual dialogues, and exchanges of ideas and people in the early modern period to questions of authenticity and formations of Italian cultural and national identity in the eighteenth and nineteenth century. They also explore problems of originality and ownership in twentieth- and twenty-first-century translations of Shakespeare’s works, and new settings and new media in highly personalized revisions that often make a paradoxical return to earlier origins. This book captures, defines, and explains these lively, shifting currents of cultural interchange.