Search

Although many U.S. regional theatres claim that gender parity factors prominently into their seasons’ show selections, women playwrights continually struggle to have their work produced. In this study, we explore the dissonance between theatre professionals’ stated intentions and actions with regard to gender parity in play selection. Interviews with theatre professionals reveal that the prioritization of organizational needs over gender inclusion perpetuates a silencing of women’s voices in American regional theatre. The inclusivity of theatres and other types of arts organizations may improve with a reanalysis of organizational structures and communication, as well as a refocusing on the organizations’ immediate communities. [ABSTRACT FROM AUTHOR]

This paper will focus on the translators as their situation has proved to be more and more difficult in France. With examples, we want to consider how one’s position has evolved in the publishing world from the 16th century to the present. Looking at the 16th century, we can observe a real fever for translations of ancient texts. In the Netherlands, Italy and France, printers were translators and signed their translations with their proper name. Playwrights did the same with Latin and Greek works. For example, we know Oedipo tyranno by Giustiniani who translated Sophocles. The name of the Greek or Latin writer was eclipsed by the translator’s name such as Plantin and the Biblia Polyglotta, or Belleforest with his translation of The War of the Jews written by Flavius Josephus. The translation of the title gave the work a new specificity and was considered as the genuine work of the translator even though the name of the original author was still given. During the 16th century in France, Literary Property Laws were called “Privilège” and were attached to the author of the printed text. Later on, this law changed. We know that playwrights used translations and never mentioned the authors as they had actually never done before. Indeed, this particular type of literature often evaded the law. The publishers became more and more important and could thus decide what would be announced on the book’s cover. The author is to be mentioned for legal reasons, but translators are rarely mentioned. Today, you have to search for their name inside the book despite the fact that as our world is becoming more and more global we need them more and more. To some extent, on stage, some directors plunder translations done by specialists and attribute them to themselves. Two avenues of enquiry should help us understand the French translator’s paradox, which consist in the fact that the translator’s status evolves from a finder and producer to an intellectual whose name is today nearly ignored – despite his/her legal status.

In Stratford-upon-Avon, the youthful writer Will Shakeshaft walks out on his family, leaving his wife Anne and their three children in the care of his father. Will has his sights [...]

Editor's Note: Edward Albee died on Friday, September 16th, 2016, at the age of 88. He passed away at his summer home in Montauk, New York, after a short illness. [...]

Richard Paul Roe, who died soon after publishing The Shakespeare Guide to Italy,' exemplifies the best of the Oxfordian mind. A retired attorney and Shakespeare enthusiast, Roe meticulously followed up [...]