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Abstract(s)
Tenta-se demonstrar com exemplos concretos que, para actores e dramaturgistas, bem como tradutores, é mais profícuo abordar uma peça como o Hamlet, não como um extenso poema repartido em diálogos, mas sim como uma pauta de representação metrificada onde retórica e prosódia, incluindo a escolha de verso ou prosa, servem funções dramáticas.
Sendo Shakespeare actor e escrevendo para elencos e palcos que conhecia dentro de convenções de encenação relativamente simples, é razoável presumir que prefigurava as cenas ao compô-las. E as suas peças foram impressas depois de terem estado em palco: os textos tal como nos chegaram são registos de espectáculos, reflectem a prática de cena como as letras de canções a sua matriz musical. Mais do que escritos para performance, estes textos provêm dela.
Estas ideias devem muito à abordagem ao drama em verso que aprendi com Patrick Tucker, antigo assistente de John Barton, co-fundador da Royal Shakespeare Company. Ambos defendem há muito que os textos do Bardo contêm hidden directions. Em 2012, tendo de fixar um texto português para o Hamlet do Teatro da Garagem, testei esta abordagem aplicando-a ao meu trabalho de tradução. Tentei chegar a uma partitura verbal que preservasse quanto possível os sinalizadores de representação e ritmos do Bardo e «soasse» em palco, explorando as propriedades acentuais também presentes no português europeu.
ABSTRACT - The chief aim of this dissertation is to demonstrate through concrete examples that for dramaturgists, actors, and translators, it is more fruitful to approach a play such as Hamlet not as an extensive poem divided into dialogues but as a metrified acting score in which rhetoric and prosody, including the choice of verse or prose, serve dramatic functions. Shakespeare was an actor, knew each cast and venue and used simple staging conventions. Thus, it is reasonable to presume that he foresaw the scenes he wrought. Moreover, his plays were printed after they had been staged. The texts as they have reached us reflect stage practice just as song lyrics reflect their musical setting; not only were they were written for performance, they arose from it. These ideas owe much to the approach to dramatic verse I learnt from Patrick Tucker, a former assistant to John Barton, co-founder of the Royal Shakespeare Company. Both have long defended that there are “hidden directions” in the Bard's rhetoric and prosody. In 2012, having to set a Portuguese text for a Hamlet by Lisbon’s Teatro da Garagem, I tested this approach by applying it to the translation. I aimed for a verbal score that preserved as much as possible the Shakespearean acting signposts and would ring true on stage, making use of the accentual traits also present in European Portuguese.
ABSTRACT - The chief aim of this dissertation is to demonstrate through concrete examples that for dramaturgists, actors, and translators, it is more fruitful to approach a play such as Hamlet not as an extensive poem divided into dialogues but as a metrified acting score in which rhetoric and prosody, including the choice of verse or prose, serve dramatic functions. Shakespeare was an actor, knew each cast and venue and used simple staging conventions. Thus, it is reasonable to presume that he foresaw the scenes he wrought. Moreover, his plays were printed after they had been staged. The texts as they have reached us reflect stage practice just as song lyrics reflect their musical setting; not only were they were written for performance, they arose from it. These ideas owe much to the approach to dramatic verse I learnt from Patrick Tucker, a former assistant to John Barton, co-founder of the Royal Shakespeare Company. Both have long defended that there are “hidden directions” in the Bard's rhetoric and prosody. In 2012, having to set a Portuguese text for a Hamlet by Lisbon’s Teatro da Garagem, I tested this approach by applying it to the translation. I aimed for a verbal score that preserved as much as possible the Shakespearean acting signposts and would ring true on stage, making use of the accentual traits also present in European Portuguese.
Description
Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro, especialização em Artes Performativas.
Keywords
Artes performativas Teatro isabelino Dramaturgia intratextual William Shakespeare Teatro da Garagem Hamlet Intratextual dramaturgy Shakespearean prosody Translation and performance John Barton Patrick Tucker
Citation
Publisher
Instituto Politécnico de Lisboa - Escola Superior de Teatro e Cinema