Katja Krebs – författare

This book provides a pioneering and provocative exploration of the rich synergies between adaptation studies and translation studies and is the first genuine attempt to discuss the rather loose usage of the concepts of translation and adaptation in terms of theatre and film. At the heart of this collection is the proposition that translation studies and adaptation studies have much to offer each other in practical and theoretical terms and can no longer exist independently from one another. As a result, it generates productive ideas within the contact zone between these two fields of study, both through new theoretical paradigms and detailed case studies. Such closely intertwined areas as translation and adaptation need to encounter each other’s methodologies and perspectives in order to develop ever more rigorous approaches to the study of adaptation and translation phenomena, challenging current assumptions and prejudices in terms of both. The book includes contributions as diverse yet interrelated as Bakhtin’s notion of translation and adaptation, Bollywood adaptations of Shakespeare’s Othello, and an analysis of performance practice, itself arguably an adaptive practice, which uses a variety of languages from English and Greek to British and International Sign-Language. As translation and adaptation practices are an integral part of global cultural and political activities and agendas, it is ever more important to study such occurrences of rewriting and reshaping. By exploring and investigating interdisciplinary and cross-cultural perspectives and approaches, this volume investigates the impact such occurrences of rewriting have on the constructions and experiences of cultures while at the same time developing a rigorous methodological framework which will form the basis of future scholarship on performance and film, translation and adaptation.

This book provides a pioneering and provocative exploration of the rich synergies between adaptation studies and translation studies and is the first genuine attempt to discuss the rather loose usage of the concepts of translation and adaptation in terms of theatre and film. At the heart of this collection is the proposition that translation studies and adaptation studies have much to offer each other in practical and theoretical terms and can no longer exist independently from one another. As a result, it generates productive ideas within the contact zone between these two fields of study, both through new theoretical paradigms and detailed case studies. Such closely intertwined areas as translation and adaptation need to encounter each other’s methodologies and perspectives in order to develop ever more rigorous approaches to the study of adaptation and translation phenomena, challenging current assumptions and prejudices in terms of both. The book includes contributions as diverse yet interrelated as Bakhtin’s notion of translation and adaptation, Bollywood adaptations of Shakespeare’s Othello, and an analysis of performance practice, itself arguably an adaptive practice, which uses a variety of languages from English and Greek to British and International Sign-Language. As translation and adaptation practices are an integral part of global cultural and political activities and agendas, it is ever more important to study such occurrences of rewriting and reshaping. By exploring and investigating interdisciplinary and cross-cultural perspectives and approaches, this volume investigates the impact such occurrences of rewriting have on the constructions and experiences of cultures while at the same time developing a rigorous methodological framework which will form the basis of future scholarship on performance and film, translation and adaptation.

The Routledge Companion to Adaptation offers a broad range of scholarship from this growing, interdisciplinary field. With a basis in source-oriented studies, such as novel-to-stage and stage-to-film adaptations, this volume also seeks to highlight the new and innovative aspects of adaptation studies, ranging from theatre and dance to radio, television and new media. It is divided into five sections:

An emphasis on adaptation-as-practice establishes methods of investigation that move beyond a purely comparative case study model. The Routledge Companion to Adaptation celebrates the complexity and diversity of adaptation studies, mapping the field across genres and disciplines.

The Routledge Companion to Adaptation offers a broad range of scholarship from this growing, interdisciplinary field. With a basis in source-oriented studies, such as novel-to-stage and stage-to-film adaptations, this volume also seeks to highlight the new and innovative aspects of adaptation studies, ranging from theatre and dance to radio, television and new media. It is divided into five sections:

An emphasis on adaptation-as-practice establishes methods of investigation that move beyond a purely comparative case study model. The Routledge Companion to Adaptation celebrates the complexity and diversity of adaptation studies, mapping the field across genres and disciplines.

The early twentieth century is widely regarded as a crucial period in British theatre history: it witnessed radical reform and change with regard to textual, conceptual and institutional practices and functions. Theatre practitioners and cultural innovators such as translators Harley Granville Barker, William Archer and Jacob Thomas Grein, amongst others, laid the foundations during this period for - what is now regarded to be - modern British theatre.

In this groundbreaking work, Katja Krebs offers one of the first extended attempts to integrate translation history with theatre history by analyzing the relationship between translational practice and the development of domestic dramatic tradition. She examines the relationship between the multiple roles inhabited by these cultural and theatrical reformers - directors, playwrights, critics, actors and translators - and their positioning in a wider social and cultural context. Here, she takes into consideration the translators as members of an artistic network or community, the ideological and personal factors underlying translational choices, the contemporaneous evaluative framework within which this translational activity for the stage occurred, as well as the imprints of social and cultural traces within specific translated texts. Krebs employs the examples from this period in order to raise a series of wider issues on translating dramatic texts which are important to a variety of periods and cultures.

Cultural Dissemination and Translational Communities demonstrates that an analysis of stage-translational practices allows for an understanding of theatre history that avoids being narrowly national and instead embraces an appreciation of cultural hybridity. The importance of translational activity in the construction of a domestic dramatic tradition is demonstrated within a framework of interdisciplinarity that enhances our understanding of theatrical, translational as well as cultural and social systems at the international level.

The early twentieth century is widely regarded as a crucial period in British theatre history: it witnessed radical reform and change with regard to textual, conceptual and institutional practices and functions. Theatre practitioners and cultural innovators such as translators Harley Granville Barker, William Archer and Jacob Thomas Grein, amongst others, laid the foundations during this period for - what is now regarded to be - modern British theatre.

In this groundbreaking work, Katja Krebs offers one of the first extended attempts to integrate translation history with theatre history by analyzing the relationship between translational practice and the development of domestic dramatic tradition. She examines the relationship between the multiple roles inhabited by these cultural and theatrical reformers - directors, playwrights, critics, actors and translators - and their positioning in a wider social and cultural context. Here, she takes into consideration the translators as members of an artistic network or community, the ideological and personal factors underlying translational choices, the contemporaneous evaluative framework within which this translational activity for the stage occurred, as well as the imprints of social and cultural traces within specific translated texts. Krebs employs the examples from this period in order to raise a series of wider issues on translating dramatic texts which are important to a variety of periods and cultures.

Cultural Dissemination and Translational Communities demonstrates that an analysis of stage-translational practices allows for an understanding of theatre history that avoids being narrowly national and instead embraces an appreciation of cultural hybridity. The importance of translational activity in the construction of a domestic dramatic tradition is demonstrated within a framework of interdisciplinarity that enhances our understanding of theatrical, translational as well as cultural and social systems at the international level.