BRECHT’S DRAMA THE (CAUCASIAN) CHALK CIRCLE TRANSLATED BY TATJANA ŠENK AND JOVAN ĆIRILOV
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Abstract
Brecht’s position of a socially engaged playwright is incessantly associated with the events taking place at that time on the world’s social and political stage. It was after his decision to move to East Berlin, where he spent the rest of his life, that he became a target of ideological controversy which, until the fall of the Eastern bloc, directly influenced the reception of his works as well.
Referring to the foreign literature in translation, the connection of the official and cultural policy is visible in both the selection of the works which shall (not) be translated and in the way they will be translated i.e. the translation poetics. Since the drama plays written after the war showed the lowest progress, the repertoires of great Serbian theatres were dominated by the foreign authors, so we could conclude that the foreign literature in translation played a major role in the revival of the theatrical life in Serbia of the time.
The reception of Brecht’s epic theatre started with the premiere of The Good Person of Szechwan (Der gute Mensch von Sezuan, 1941), staged on October 19, 1954 in the Belgrade Drama Theatre (Beogradsko dramsko pozorište), which marked this playwright’s breakthrough in the Yugoslav theatre stages. Up to the present, all of the Brecht’s works designated as epic theatre have been translated into Serbian, and some of them have been translated several times. Despite good reception of his translated drama production, there are only a few studies related to the translation of Brecht’s plays. Apart from that, among the translations, there are several of them unaccounted for in the secondary literature, whether it is about the newspaper’s headlines, reviews, or scientific publications.
This study shall present a so far unknown translation of Brecht’s drama The (Caucasian) Chalk Circle (Der kaukasische Kreidekreis, 1944), kept in the library of the Serbian National Theatre in Novi Sad (Srpsko narodno pozorište Novi Sad), which presents a testimony of extremely rich and diverse reception of this author in Serbia.
It has been shown that the factors influencing the manner of reception of the works coming from the foreign culture in the stated social and historical context could be visible in the very translation, in accordance with the translation analyses and the reconstruction of the translation actions, as well as the interpretation of the results within the frame of the systemic context.
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