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- W95725422 abstract "In 1959, Roman Jakobson, in his famous article “On Linguistic Aspects of Translation”, extended the concept of translation from the merely verbal to include transfer between different sign systems. On the basis of this, most ballets, which generally derive their aesthetic structure and narrative content from some preceding text, may legitimately be considered as examples of intersemiotic translation. Indeed, many classical ballets are based upon not one but two prior texts a musical score, which largely determines the form and emotional thrust of the choreography, and a canonical or popular work of literature of which the score is itself a ‘translation’; hence there is a dual transfer involved. This is the case in the three versions of Romeo and Juliet that I wish to look at here, all of which are simultaneously based upon Prokofiev’s score and Shakespeare’s play. If we define ballet as translation into kinesthetic/visual medium of a work previously encoded in verbal or musical form, then the tools used in the discipline of Translation Study may be validly applied to these works. The objective of this paper, therefore, is to examine some of the constraints operating upon three different ballet versions of Romeo and Juliet, produced at different moments during the twentieth century, which I will do so with reference to the categories suggested by Andre Lefevere in his 1985 article “Why Waste our Time on Rewrites?” These are, in his order," @default.
- W95725422 created "2016-06-24" @default.
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- W95725422 date "2007-01-01" @default.
- W95725422 modified "2023-09-28" @default.
- W95725422 title "Words into Movement: the Ballet as Intersemiotic Translation" @default.
- W95725422 hasPublicationYear "2007" @default.
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