I am in awe of Robin Beth Levenson''s scholarship and the detail of her research, as well as her ability to explain to the reader how the various translations of Chekhov''s plays create such different blessings and curses for the actor trying to say the right words. This book is an amazing and unique achievement - Bruce Katzman, actor, teacher, director, www.secretsofchekhov.com
Iconic Russian writer Anton Chekhov is recognized as the most translated and produced playwright in the world after William Shakespeare—that is, he is the most produced and most highly regarded modern playwright in English translation. Chekhov's style models our behaviors and aspirations in alluring and intricate ways, unmatched in playwriting. His plays determined Realism in language and acting practice from the late 19th century to the present. Acting Chekhov in Translation: 4 Plays, 100 Ways explores the history of translation, contemporary and controversial approaches to stage translation, the notion of "action" from Aristotle to Adler (and beyond), and Chekhov's inimitable dramaturgy. English translations, adaptations and versions of The Seagull, Uncle Vanya, The Three Sisters and The Cherry Orchard are each considered from the actors' points of view, from the page to the stage.
The nature of stage translation has recently undergone novel and provocative changes: how can someone who does not know the source language adapt or translate a play? It is done frequently, and the outcomes are investigated herein. For the translator as well as practitioners, understanding theatre craft is essential to producing playable and engaging productions. Differences in the language, punctuation, syntax, sound, rhythm, stage directions and what appears on the written page in various translations affect the work of the actor on the playscript.
The purpose of this inquiry is not to definitively evaluate or interpret Chekhov's plays but to discover approaches to working on plays in translation and to determine practical tools we may use in the analysis of dramatic form, as well as human behavior. This book includes selections from 145 translations and translators of all four plays and a glossary of acting terms that helps describe concepts for practical script analysis.
Industry Reviews
"I read every page of Robin Beth Levenson's Acting Chekhov in Translation. I found it far too compelling to just select a chapter here and there. Her comparisons of variant translations are wonderful! Her knowledge of the fields of acting, drama, speech and voice bring new insights both to Chekhov's four masterpieces and to translation studies. She convincingly points out the pitfalls of translating a play strictly as a verbal text without properly considering all the elements that go into a performance.
Her underlying theory that variations in language result in variations in subtext and action is of critical importance and is far too often overlooked in play translation. Her analysis of Stanislavsky's contribution to acting methods, along with his misunderstanding of some of Chekhov's intentions as well as later practitioners' misunderstanding of Stanislavsky's own concepts, will be illuminating for many, particularly translators who do not have an extensive background in theatre. Her careful analysis of Chekhov's dramaturgy likewise will be helpful to those who do not already have this level of familiarity with the great playwright's works. Her numerous personal interviews and observations drawn from classes she has taken with outstanding teachers are sources of considerable enrichment.
Among her other crucial ideas are:
the interaction of playwright and director;
the question of how to capture source rhythm in the translated text;
her discussion of how playwrights and translators impose themselves on the source text;
the impact for the actor of deleting intentional ellipses and punctuation;
the question of whether characters will speak perfect grammar when they are emotionally
distraught;
the impact of deleting elements from the source;
the significance of title and character names and of stage directions.
Levenson's book will attract a range of readers with varying interests: play translation, Chekhov, acting, and theatre in general. Its appeal extends throughout the English-speaking world and perhaps to Russians who know English and are curious about how translations work."
-Phyllis Zatlin, literary critic and translator, Professor Emerita at Rutgers University, Author of Theatrical Translation and Film Adaptation: A Practitioner's View
