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Savior (Morton, 1992), an earlier one adapted by Morton himself and Honduran Teatro La Fragua (Romero de las Américas, unpublished) and a later one by I. C. Flores Hernández and Teatro Universitario de la Benemérita Universidad Autónoma de Puebla (Romero, el Salvador, unpublished).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).

The Savior de Carlos Morton y sus adaptaciones al español

Errico Elena;
2018-01-01

Abstract

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Savior (Morton, 1992), an earlier one adapted by Morton himself and Honduran Teatro La Fragua (Romero de las Américas, unpublished) and a later one by I. C. Flores Hernández and Teatro Universitario de la Benemérita Universidad Autónoma de Puebla (Romero, el Salvador, unpublished).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).
2018
En el presente trabajo analizamos las dos versiones en español de la obra teatral The Savior (Morton, 1992), la más antigua a cargo del propio dramaturgo en colaboración con el teatro hondureño La Fragua (Romero de las Américas, inédita) y la más reciente a cargo de I. C. Flores Hernández y del grupo del Teatro Universitario de la Benemérita Universidad Autónoma de Puebla (Romero, el Salvador, inédita). La obra, ambientada en El Salvador a finales de los setenta, trata de la figura, de la obra y del asesinato de monseñor Óscar Arnulfo Romero. A la luz de las problemáticas teóricas puestas de manifiesto por la Escuela de la Manipulación y del concepto de reescritura (Lefevere, 1982; 1992), intentaremos mostrar cómo los dos productos textuales (la versión hondureña, relativamente más target-oriented y la poblana, más source-oriented) están moldeados conforme los vínculos extratextuales y genéricos de fondo que marcaron las circunstancias concretas de su elaboración, atendiendo también a su función primordial, la interpretación en las tablas.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11567/940475
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