A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship

This paper argues that Crimp’s adaptation of Anton Chekhov’s The Seagull (2006) transforms Nina’s two key speeches into two urgent acts of testimony. The paper compares Crimp’s adaptation to other, more canonical adaptations of The Seagull in the English language, such as Anne Dunnigan’s (1964) and...

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Detalhes bibliográficos
Autor: Escoda, Clara
Formato: artículo
Estado:Versión publicada
Fecha de publicación:2010
País:España
Recursos:Universidad de Barcelona
Repositorio:Dipòsit Digital de la UB
OAI Identifier:oai:diposit.ub.edu:2445/228080
Acesso em linha:https://hdl.handle.net/2445/228080
Access Level:acceso abierto
Palavra-chave:Traducció literària
Dramaturgs
Teatre
Literary translation
Dramatists
Theater
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spelling A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and RelationshipEscoda, ClaraTraducció literàriaDramaturgsTeatreLiterary translationDramatistsTheaterThis paper argues that Crimp’s adaptation of Anton Chekhov’s The Seagull (2006) transforms Nina’s two key speeches into two urgent acts of testimony. The paper compares Crimp’s adaptation to other, more canonical adaptations of The Seagull in the English language, such as Anne Dunnigan’s (1964) and Michael Frayn’s (1988), and concludes that, while previous translators have given Nina’s speeches a metaphysical and spiritual emphasis, making her words reflect a cosmic struggle between good and evil and thereby inserting her words within a religious framework, Crimp produces a post-Holocaust play which aims to position spectators actively with regard to the inequality of contemporary world order. Crimp’s version removes Chekhov’s references to Russia and sets the play in a bourgeois context of deceit, which simultaneously reflects a larger political context of rivalry amongst world powers. Nina’s language, in her testimonies, is both personal and political. In order to interpret the indeterminate, lyrical language of Nina’s testimonies, and to complete the picture of an unequal world order, the audience are encouraged to draw on their own experiences of oppression and duplicity in interpersonal relationships. Crimp thus invites the audience to evoke a resistant type of memory and to oppose the inequality of the existing order, as they detect the need for ethics in their personal, everyday context.University of London2010info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://hdl.handle.net/2445/228080Articles publicats en revistes (Llengües i Literatures Modernes i Estudis Anglesos)reponame:Dipòsit Digital de la UBinstname:Universidad de BarcelonaInglésReproducció del document publicat a: https://www.royalholloway.ac.uk/research-and-education/departments-and-schools/drama-and-theatre/studying-here/postgraduate-research/platform-journal/platform-archive/Platform: Journal of Theatre and Performing Arts, 2010, vol. 5, num.1, p. 54-70(c) University of London, 2010info:eu-repo/semantics/openAccessoai:diposit.ub.edu:2445/2280802026-05-27T06:46:51Z
dc.title.none.fl_str_mv A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
title A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
spellingShingle A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
Escoda, Clara
Traducció literària
Dramaturgs
Teatre
Literary translation
Dramatists
Theater
title_short A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
title_full A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
title_fullStr A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
title_full_unstemmed A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
title_sort A Textual Analysis of Martin Crimp's Adaptation of Anton Chekhov's The Seagull: The Importance of Testimony and Relationship
dc.creator.none.fl_str_mv Escoda, Clara
author Escoda, Clara
author_facet Escoda, Clara
author_role author
dc.subject.none.fl_str_mv Traducció literària
Dramaturgs
Teatre
Literary translation
Dramatists
Theater
topic Traducció literària
Dramaturgs
Teatre
Literary translation
Dramatists
Theater
description This paper argues that Crimp’s adaptation of Anton Chekhov’s The Seagull (2006) transforms Nina’s two key speeches into two urgent acts of testimony. The paper compares Crimp’s adaptation to other, more canonical adaptations of The Seagull in the English language, such as Anne Dunnigan’s (1964) and Michael Frayn’s (1988), and concludes that, while previous translators have given Nina’s speeches a metaphysical and spiritual emphasis, making her words reflect a cosmic struggle between good and evil and thereby inserting her words within a religious framework, Crimp produces a post-Holocaust play which aims to position spectators actively with regard to the inequality of contemporary world order. Crimp’s version removes Chekhov’s references to Russia and sets the play in a bourgeois context of deceit, which simultaneously reflects a larger political context of rivalry amongst world powers. Nina’s language, in her testimonies, is both personal and political. In order to interpret the indeterminate, lyrical language of Nina’s testimonies, and to complete the picture of an unequal world order, the audience are encouraged to draw on their own experiences of oppression and duplicity in interpersonal relationships. Crimp thus invites the audience to evoke a resistant type of memory and to oppose the inequality of the existing order, as they detect the need for ethics in their personal, everyday context.
publishDate 2010
dc.date.none.fl_str_mv 2010
dc.type.none.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.none.fl_str_mv https://hdl.handle.net/2445/228080
url https://hdl.handle.net/2445/228080
dc.language.none.fl_str_mv Inglés
language_invalid_str_mv Inglés
dc.relation.none.fl_str_mv Reproducció del document publicat a: https://www.royalholloway.ac.uk/research-and-education/departments-and-schools/drama-and-theatre/studying-here/postgraduate-research/platform-journal/platform-archive/
Platform: Journal of Theatre and Performing Arts, 2010, vol. 5, num.1, p. 54-70
dc.rights.none.fl_str_mv (c) University of London, 2010
info:eu-repo/semantics/openAccess
rights_invalid_str_mv (c) University of London, 2010
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv University of London
publisher.none.fl_str_mv University of London
dc.source.none.fl_str_mv Articles publicats en revistes (Llengües i Literatures Modernes i Estudis Anglesos)
reponame:Dipòsit Digital de la UB
instname:Universidad de Barcelona
instname_str Universidad de Barcelona
reponame_str Dipòsit Digital de la UB
collection Dipòsit Digital de la UB
repository.name.fl_str_mv
repository.mail.fl_str_mv
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score 15,812455

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