The plot in Hungry follows a family of three in their unsettling adventure. A man and a woman become entangled in crime in their attempt to care for their ailing child. His characters share an escalating anxiety that resonates with audiences facing dire socioeconomic circumstances, such as those presently in Greece. However, I disagree with her assertion that the play is devoid of a defined Greek context.
In my view, a particular localized pattern emerges in the central family dynamic, but also in glimpses afforded in events woven into the plot as the family interacts with the wider community. Self-translation is often part and parcel in translations from Greek into English. In many occasions, Greek playwrights themselves translate their work in order to facilitate their launch into a foreign market, as they wish to disseminate their work abroad.
The collection under discussion is no exception, with two out of the five texts being self-translations Angelstate , by Nina Rapi, and Hungry , by Charalampos Giannou. Indeed, the process of writers translating their own work is a rather under-analyzed aspect in Translation Studies. In the present economic conditions, writers who are not native in English may be forgiven for choosing to translate their own work.
However, there is an associated cost, which they may need to consider. Maria Mytilinaki Kennedy is a theatre translation scholar. Her research focuses on ancient, modern, and contemporary Greek theatre in translation.
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Konstantinos A. Jerome, You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account. You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Reviewed by Maria Mytilinaki Kennedy Volume 6, Issue 4 Fall The publication of a new collection of contemporary Greek plays in translation is a rare occasion worth celebrating.
Angelstate Angelstate , written and translated by Nina Rapi, is a play about human relationships far from the usual dysfunctional family plot that concerns so many Greek plays. To a certain extent, the expanded field of new writing is thus generated by problematizing the sets of opposition between verbatim theatre and fiction. My second has been to consider extensions of this logic in the light of plays that have appeared more recently on the British stage. Such works are potential comments on the limits and possibility of verbatim theatre as new writing and new writing as verbatim theatre.
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Another consideration, then, is that the use of verbatim materials in new writing has enabled playwrights to develop new aesthetic possibilities characterised by their in-between-ness between verbatim and non-verbatim codes. The study of these plays clearly demonstrates the necessity for a more flexible definition of new writing in a context where rigid borders between artistic categories need to be surpassed:.
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