Marina Bento Veshagem
Universidade Federal de Santa Catarina
Abstract
This work starts from the idea that the theater should be the place where language is worked, defended by the director and translator Antoine Vitez in the article “La scène, les scènes, les formes, Hamlet, Oreste, Kalisky, l'Enfant prodigue, Arlequin, le Voyage”, for Le Journal de Chaillot, in June 1982. With this statement, Vitez approaches translation and theater from the concept of staging, saying that translation is eternally being redone, as well as the theatrical art that is that of infinite variation, since it is always necessary to re-enact everything. Henri Meschonnic, in turn, also makes a movement of approximation between translation and theater, but through orality, when he develops his theory of a poetics of translating (in Poética do Traduzir, 2010). For him, what is translated is rhythm, as the organization of meaning in a discourse, which makes work both language and society. And it is precisely the orality that makes the rhythm being heard, it manifests a corporeity of the rhythm, implying prosody, gesture, voice and intonation. It is important to note that orality here is not the opposite of writing, in a dualistic view, but is put in perspective in a tripartite: written-spoken-oral. If orality can be perceived in any written text, in the theater it screams and makes the rhythm heard. Based on an excerpt from the author's doctoral research, especially the idea of ??approximation between theater and translation – through orality and staging –, in this work the aforementioned concepts will be developed and practical examples will also be presented from the translation exercise (from the French into Portuguese) and some staging, or situations of enunciation, of the play Macbett (1972), by Eugène Ionesco.
