In this article we analyze the two Spanish versions of the play The Savior (Morton, 1992), an earlier one adapted by Morton himself and Honduran Teatro La Fragua (Romero de las Américas, unpublished) and a later one by I. C. Flores Hernández and Teatro Universitario de la Benemérita Universidad Autónoma de Puebla (Romero, el Salvador, unpublished). The play, set in El Salvador in the Seventies, features the last years of life and the killing of archbishop Óscar Arnulfo Romero. Drawing on the theoretical framework of the School of Manipulation and Lefevere's construct of rewriting (Lefevere, 1982; 1992) we argue that the different approaches adopted for the two translations (the former relatively more target-oriented and the latter relatively more source-oriented) are largely motivated by the extra-textual constraints in which they were produced, namely the socio-historical setting and purpose of the translation (i.e., stage performance).
|Titolo:||The Savior de Carlos Morton y sus adaptaciones al español|
|Data di pubblicazione:||2018|
|Appare nelle tipologie:||01.01 - Articolo su rivista|