ABSTRACT

Translating for the stage implies a specific challenge, given that the theatrical language presupposes a complex conception of space – from the actual theatre to the audience’s imagination – related to musicality (rhythm and sound) and metaphors, that the translator has to pass over to stage director, set designer, actors, thus stimulating choreographical, scenographic and gestural/sonorous registers to enter into an open creative dialogue with the auditorium. Based on 50 years’ collaboration with Dario Fo as translator and interpreter the author demonstrates how the language of Fo – be it ‘normal’ or ‘special’ (: dialectal or onomatopoetic) – builds on a ground of musical, physical preconditions that imply bodily/emotional circumstances (related to e.g. the respiratoric rhythm) which are transferred to the audience, creating thus a common aesthetic space that goes beyond the semantic aspects of language. Sometimes the translator has to betray the strictly literal meaning of the words in order to respect the musical- physical-emotional qualities of the language. Neuro-aesthetics, cognitive psychology and brain research are useful help disciplines in these practices.

BIOGRAFIA

Bent Holm Dr.phil., ex professore associato, Università di Copenaghen. Dramaturg. Traduttore (Fo, Goldoni, De Filippo ed altri). Pubblicazioni recenti: Ludvig Holberg, a Danish Playwright on the European Stage, Hollitzer, Vienna 2018. Con Mikael Bøgh, a cura di, Imagined, Embodied and Actual Turks in the Early Modern Era, Hollitzer, Vienna 2021. Con Gaye Kynoch, trad. e comm., Ludvig Holberg: Plays I-III, Hollitzer, Vienna 2020-2022. Conferenze e corsi ad internazionali università ecc., ultimamente Tokyo e S. Pietroburgo.

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