Borrowing another voice or the Cyrano complex
The voices in Tina Howe’s theatre run the gamut of register, from inarticulate or animal sounds to impassioned monologues and quoted verse. This article focuses on one of the playwright’s greatest successes, Painting Churches (1983) in order to investigate the vocal identity of the text through the...
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| Format: | Article |
| Language: | English |
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Centre de Recherche "Texte et Critique de Texte"
2013-06-01
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| Series: | Sillages Critiques |
| Subjects: | |
| Online Access: | https://journals.openedition.org/sillagescritiques/3059 |
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| Summary: | The voices in Tina Howe’s theatre run the gamut of register, from inarticulate or animal sounds to impassioned monologues and quoted verse. This article focuses on one of the playwright’s greatest successes, Painting Churches (1983) in order to investigate the vocal identity of the text through the alliance of screams, rants, everyday conversation, music and silence which makes up the dialogue. It then enquires into the processes implied in the translation of such a wide vocal range for foreign actors, questioning the relationship of the audience to the foreign and the familiar, and considering the paradigms of hiding and revealing one’s voice which are involved in writing, acting and translating a play. |
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| ISSN: | 1272-3819 1969-6302 |