We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.
To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
‘Visual Translation: A Creative Tool for Practising Metacognition and Analysing Agency and Power’ describes the design for a ‘visual translation’ project that I developed to help high school students in an advanced Ancient Greek literature course differentiate between literal and literary translation. This project could potentially be adapted for students at any level of Ancient Greek or Latin language studies, but would likely be particularly apt for the longer passages that are taught in intermediate and advanced language courses.
Chapter 21 looks at how theatre translation has connections with literary and poetry translation but is always focused on a performed text and its users. The readers of translated theatrical texts encompass theatre practitioners engaged in the design and development of performance, and actors who learn and reproduce the text as dialogue and movement. The chapter contrasts direct translation of a text by a specialist translator with the frequent practice of commissioning an expert linguist to make a literal translation to be used by a theatre practitioner to create a text for performance. It considers the role of the translator in the theatrical environment, investigating the extent to which theatrical collaborative practices are reflected in theatre translation. The chapter ends with a discussion of the implications for theatre translation of relevant theories from the wider translation arena.