El proyecto de Investigación TC/12 (Red del Patrimonio Teatral Clásico Español), coordinado por el profesor Joan Oleza, recibirá la medalla de oro de la Academia de las Artes Escénicas. El acto de concesión de la medalla, que será organizado conjuntamente por la Academia, el Ayuntamiento de Murcia y la Universidad de Murcia, tendrá lugar el lunes 26 de febrero de 2018.
Es una buena ocasión para hacer referencia nuevamente a algunos de los resultados del proyecto y de otros proyectos relacionados:
In 2009, David Johnston, Queen’s University Belfast, set out the reasons why it is only in the last fifteen years that the English-speaking world has shown any sustained interest in the plays of the Spanish Golden Age and discussed ways in which the translator may approach the plays of the Spanish Golden Age (read full article).
David Johnston’s Translating the Theatre of the Spanish Golden Age: A Story of Chance and Transformation is a delicious mixture: it is at once a memoir of a life in the theatre, a treatise on translation, an introduction to Spanish Golden Age drama, and a meditation on the value and power of art. Rejecting the fantasy of the perfect conversion from one language and time to another, Johnston defines his craft as an “act of writing forward,” of bringing the rich playtexts of the past into present contexts (11). The string that ties together the varied elements of this slim volume is the idea that contemporary audiences may respond to these plays as much as the audiences of early modern Spain, and that they deserve to performed again, to be heard in the idiom of today, and most of all, to be seen.
The story of Johnston’s own conversion from theatre lover and student of the Spanish language to award-winning translator begins with an explosion. Taking a book down from the Queen’s University library stacks, Johnston feels the reverberations of a bomb from nearby Dublin Road. In his lucid, fast-moving prose, he describes the chance and transformation that follows: “A four-story building had disappeared from the skyline and a stunned and bewildered flock of dark starlings was still spinning in the air in front of a huge pall of grey smoke and brick-dust. I looked down at the book in my hand. A battered Spanish edition of Calderón’s Life’s a Dream” (6). In the collision of 1635 Madrid and 1974 Belfast, the poetic illusion and the stark reality of the leveled building, and the echoes of authoritarianism that united them in Johnston’s consciousness, the translator found his vocation.
The rewards of that inspiration are evident throughout the book, as Johnston peppers his story with his own marvelous English renderings of the original Spanish. Adept at both comic and tragic tones, he illustrates the vibrant character and contemporary relevance of these plays by providing examples of his process and its products. Unlike more conservative translators, he argues that the use of profanity is sometimes necessary to shock the audience. He thus translates Laurencia’s monologue from Lope’s Fuenteovejuna, in which she condemns the cowardice of the village men, to convey the force of her rage: “You call yourselves men? Go and fuck / each other, then finish your sewing! / Cowards! Sheep! Hide behind your women / . . . we’ll dress you in scarves and skirts. / and powder your white cheeks with rouge” (43). Through Johnston’s words, the reader can feel Laurencia’s torment and fury.
Johnston brings a translator’s sensitivity to not only the language of these characters but the larger social dynamics they portray onstage, rejecting the idea that these works unequivocally reinforce orthodox, Catholic, patriarchal values. In his account of Fuenteovejuna, “its depiction of the outer excesses of authoritarian abuse, its recognition of the causes, if not the validity, of revolutionary action, and its positioning of women as both the victims of, and, in the final analysis, the prime movers against sexual violence,” still resonates today (55). The theater offers a space for a culture, whether 17th-century Spain or the current United States, to simultaneously perform and examine itself. The social inequalities and anxieties over authority that dominate our public conversation are also at the center of these vital early modern plays. Drama does not merely reflect, but instead foregrounds a proliferation of voices and interpretations.
Toward the end of his story, Johnston remarks that the book will be a success if it inspires others to translate. As part of the Diversifying the Classics project at UCLA, I’m grateful to have Johnston as model and motivation, but the audience for this book is far broader than aspiring translators of dramatic texts. It may be especially valuable for those in the theater, but this wonderful story of chance and is transformation is a rare gift for anyone interested in the conversation between Spanish and English, past and present, politics and art.
The American Society for Theatre Research (ASTR) is doing a great job and deserves an enormous recognition from Spain. ASTR is a US-based professional organization that fosters scholarship on worldwide theatre and performance, both historical and contemporary.
Since 2008, they maintain a wikipage with the content of the annual conference working papers that shows the great amount of talent and time spent in the formidable task of translating classic Spanish plays.
And all this effort shows a huge success on dealing with very complicated tasks. For instance, discovering details that had gone entirely unremarked in modern critical reception of plays. What follows is an example of it.
In this amazing paper, Erdman points out something that had passed almost unnoticed so far: “Luis Vélez de Guevara’s La serrana de la Vera (1613) has generated a lot of critical interest recently – and one major stage production – because of its extraordinarily non-normative protagonist, Gila, who identifies as a man and behaves as one, while undertaking uncommon feats of strength, heroism, and violence. She has been variously identified over the years as “irregular,” homosexual, lesbian, queer, and, most recently, by Harrison Meadows at the 2016 ASTR conference, as transgender. In this paper, I will argue that the play also includes another extraordinary body: Captain Don Lucas de Carvajal, her seducer and aggressor, who textually and contextually can be specified as Jewish. His non-normative masculinity can be paired with Gila’s non-normative femininity in a way that generates a richer and more complicated understanding of this tragedy.”
Erdman argues that La serrana de la Vera “can be seen as centered around the conflict between two gender non-normative characters: Gila, a masculine woman, and the Captain, a feminized man. To read the Captain as Jewish is to read him prima facie (c. 1613, that is) as womanly, as Otero-Torres (citing Mirrer) points out, noting how Jews were feminized in medieval Spanish culture and denied masculine attributes (even rumored to menstruate) as part of a much larger and persistent tradition that persists to this day.”
All this argument starts by point out that:
“Gila, in her initial heated exchange with the Captain, names the sin, when she scoffs to his face: ‘Qué fanfarrón judío! [‘What a boasting Jew!’] (376). In that moment, modern readers discover that the Captain is understood to be a New Christian, a detail that explains a lot about the first five hundred lines of the play: Giraldo’s frosty reception, Gila’s outright contempt, and the entire town’s spirited mockery of and threats of violence against him. Yet, with the exception of one essay by Otero-Torres (1997), this detail has gone entirely unremarked in modern critical reception of the play. Giraldo, Gila, and the entire town of Garganta la Olla defy the Captain, I would argue, not because his orders are unreasonable but because of his blood: because of something inscribed upon his body.
Gila’s snarling ‘fanfarrón judío’ cannot de dismissed as a passing insult but rather must be seen an accusation that would have resonated deeply with audiences of 1613 due to the Captain’s family name of Car[a]vajal.”
What first surprised me more was this verse: ‘Qué fanfarrón judío!’ that I did not remembered at all after working on a digital version of La serrana de la vera for Fundacion Ramón Menéndez Pidal. After checking this online edition and Velez’ manuscript, I realized that the manuscript reads clearly ‘Qué fanfarrón jodío!’ and that Menéndez Pidal’s edition (and most editions before and after it) writes it as it is, without any remark.
However, as it is well know by any philologist, for many decades words like roído for ruido, cochillo for cuchillo, güésped for huésped, soprique for suplique, jodío for judío were interchangeable until XIX century in Spain. Almost always there are changes in pre-stressed vowel.
The verse ‘Qué fanfarrón jodío!’ requires a well deserved note in any edition. This detail had gone entirely unremarked in modern critical reception of this play, indeed.
Fortunately, Erdman is working in a bilingual edition of La serrana de la Vera for publication this year by the University of Liverpool’s Hispanic Classic series.
Thanks Erdman and other academics, maybe something critical is changing in translating Spanish classic plays. Congratulations!
Eric Bentley, critic and editor, and Roy Campbell, poet and translator
Eric Bentley, born in September 14, 1916, is a British-born American critic, playwright, singer, editor and translator. He is still one of the most respected theatre critic in America, and is also recognized by his role as having introduced the English-speaking theatre to the works of Bertolt Brech and other classic writers from Italy, Germany, Spain, and France.
The Classic Theatre serie was started in 1958 and planned in four volumes: v. 1. Six Italian plays. – v. 2. Five German plays. – v. 3. Six Spanish plays. – v. 4. Six French plays.
Volume 3 of the Classic theatre under title Six Spanish plays was published in 1959 with six plays of the ‘Spanish drama of the golden age’ translated into English by Roy Campbell for BBC: The siege of Numantia / Miguel de Cervantes – Fuente Ovejuna / Lope de Vega – The trickster of Seville and his guest of stone / Tirso de Molina – Life is a dream / Calderón de la Barca – Celestina / Fernando de Rojas – Love after death / Calderón de la Barca.
Very unfortunately, Roy Campbell died in a car accident near Setúbal, Portugal, on Easter Monday, 1957, when a car driven by his wife hit a tree. At the time of his death, he was 55 years old and was working upon translations of 16th- and 17th-century Spanish plays. Although only the rough drafts were completed, Campbell’s work was posthumously edited for publication by Eric Bentley in 1959.
Roy Campbell was a real character of his own: a poet who counted George Orwell, Aldous Huxley, T S Eliot, Evelyn Waugh, J R R Tolkien and C S Lewis among his friends. He was Afrikaner, British, catholic, pro-Franco, translator of Spanish drama and poetry (Lorca, Cervantes, Lope, Calderón, St John of the Cross…) into English, sergeant during the Second World War, BBC journalist for many years. His live reflects a personal scale version of shaken twenty century. It is highly recommendable to know more of his biography here.
To approach Roy Campbell’s translator spirit, it is worth to have a look at Campbell’s verse commemorating Lorca’s death. He wrote:
Not only did he lose his life
By shots assassinated:
But with a hammer and a knife
Was after that—translated.
This same warning on literature translations is identified in Bentley’s edition of Campbell’s plays. In the foreword of the 1959 edition, Bentley revels something really surprising: the Spanish Golden Age plays have been awfully translated into English. He says:
“Probably there is no body of World Literature so little known to the world as the classic Spanish drama. This is not entirely the world’s fault, for few of the translations are readable, let alone impressive. The only collection of Lope de Vega ever published in English it, it seems, Four Plays, in English versions by John Garret Underhill. I defy anyone to read it through. In the nineteenth century Denis Florence MacCarthy spent many years of his life translating Calderón. In trying to reproduce the sound of the Spanish, he effectively prevented himself from writing English. Edward Fitzgerald had much greater success with Calderón, but went to the other extreme of excessive freedom. For a while the effect must have seemed to be one of brilliance: today one is depressed by the persistent feeling that one is reading Victorian poetry of the second class. In ranging pretty widely over the field of Spanish classics in English, I found most enjoyable a volume entitled Three Comedies from the Spanish, published anonymously in London in 1807 and known to be the work of Lord Holland. Unfortunately, Lord Holland did not choose to include a single major play.
What was needed, I thought, was fresh air, such as flooded into the translated Greek drama a generation ago when Cocteau and Yeats applied themselves to it. I got hold of some translations which Roy Campbell had recently made for the B.B.C. Third Programme. Fuente Ovejuna and The Trickster of Seville, flat and even absurd in the earlier translations I had read, came alive. Campbell was in love with old Spain and was one of the few poets writing English in our day who had a touch of bravado, a vein of bravura. Even qualities I had disliked in certain poems of his own were turned to account in the translations. And he also had a straightforward lyrical gift, invaluable for the rendering of Lope’s tenderness and charm. When Roy Campbell came to America for a lecture tour in the autumn of 1955, Jason Epstein and I arranged with him to bring out the B.B.C. translations—plus a couple we ourselves commissioned—in this country.
Campbell was killed, with all the sudden, sprawling violence of Spanish life and literature, some 18 months later. The translations were done, but, as they were not revised, let alone polished and fully prepared for the press, the responsibility devolved upon me of editing manuscripts without being able to consult their author. Should research students ever compare the manuscripts with the texts here published, some of them will wish, I imagine, that I had meddled more, others will conclude that I have already meddled too much. The task being impossible, the solutions found were at best partial and questionable. But in human affairs this is not an unusual situation.
The book remains largely Roy Campbell’s, but it is rounded out by a version of one of the few Spanish classics that has received a truly classic translation into English. In the circumstances under which this volume was prepared, I would not have wished to mix Campbell’s work with that of other moderns, but I think he would have enjoyed proximity to the Mabbe version of La Celestina. “As Greek tragedy,” says Moratín, “was composed from the crumbs that fell from Homer’s table, so the Spanish drama owed its earliest forms to La Celestina.” James Mabbe’s work, in turn, rendering Rojas in the English of Shakespeare and the King James Bible, stands as a model and a challenge to all subsequent translators of the Spanish classics.
The volumes of the present series represent only a small selection from an enormous repertoire. There will always be a case against the particular selection made, and there will always be a case against the particular translations used. I am very willing to concede that such a volume as the present one is only a beginning, if my critics will grant that it is a beginning. “Spanish drama of the golden age” has been a phrase only, referring to we knew not what. If this volume communicates something of the spirit of that drama to modem readers (and, who knows? also to theatre audiences) it will have succeeded where many worthy efforts in the past have failed. In any event I shall not be ashamed to have played even a modest part in the enterprise.”
In 2016, Eric Bentley was interviewed by Rob Weinert-Kendt, the editor-in-chief of American Theatre. Here is the introduction to the mentioned article. (Read the full article)
Eric Bentley has not gone soft. But at age 99, the British-born critic who wrote The Playwright as Thinker and introduced the English-speaking theatre to the works of Bertolt Brecht—among an eventful career’s worth of noteworthy achievements—has well earned the right to be circumspect about his body of work, about the art form he greatly influenced if never personally mastered, and about the cultural health of the nation he’s called home since becoming a citizen in 1948. And so, as he sat in a plush leather chair for an interview last December in the study of his home on Riverside Dr., with a view of a Joan of Arc memorial statue that one of his idols, George Bernard Shaw, might have appreciated, Bentley alternated between dispatching ready answers to questions he’s been asked hundreds of times and taking the time to think through philosophical and aesthetic quandaries he’s still, after all these years, wrestling with.
It is that wrestling—his rancor-free but nevertheless uncompromising lifelong tangle with ideas, both as expressed through the theatre and outside it—that keeps a reader returning with interest and pleasure to Bentley’s work. Though he was only a proper critic, in the sense of being employed to review current theatrical offerings on a regular deadline, for a handful of years in the late 1940s and early ’50s (for The New Republic and The Nation), in his major books and essays he brought a sharp, systematic mind and exacting if wide-ranging taste to a task few had taken up before him, and nearly none have since, outside the halls of academia: fashioning a long-viewed yet fine-grained critical history of Western drama up to the present day.
Alas, that “present day” more or less stopped at mid-century; though he considered himself an ally of many ’60s liberation movements, in particular gay rights (he himself came out near the end of that decade), he wrote precious little about the theatre of that time, let alone after. His health currently renders him unable to travel outside his home; even so, there remain intervening decades of substantive theatre (Shepard, Sondheim, Churchill, Kane, Kushner, assorted Wilsons, Mamet, Vogel, Nottage, etc.) about which he has been effectively silent. He has spent some of the intervening decades teaching, as well as writing his own plays, which include Are You Now or Have You Ever Been?, Lord Alfred’s Lover, and Round Two.
Still, the shadow of his seminal collections—which include What Is Theatre?, In Search of Theatre, and The Life of the Drama—continues to hang over what passes for critical discourse today, and it would be a grave mistake to consign his books to history, or to the timeworn aesthetic and political arguments from which they sprung. As with the greatest critics, it is not Bentley’s judgments but his insights that make him most valuable, though these can be hard to untangle, of course. And it is probably the case that without his peremptorily contrarian temperament, which put him so regularly at odds with major figures of his day, Bentley might never have teased out the contradictions and complexities of playwrights he admired as well as the ones he didn’t.
He lionized Pirandello, for instance, and championed Ibsen, but few of their admirers have ever written so frankly or comprehensively about those dramatists’ shortcomings as well. Bentley brought a similarly rounded view to writers that interested him but he mostly didn’t care for, including Miller and O’Neill.
Nothing demonstrates what might be thought of as Bentley’s critical integrity so well as his dealings with Brecht. This was the one figure, apart from Shaw, that Bentley most admired and on which he pinned his hopes for the future of the theatre, and the admiration was reportedly mutual. But when Brecht rather hamfistedly insisted on Bentley’s political fealty to his brand of Eastern bloc Communism, Bentley bluntly declined. As an anti-Soviet leftist with seemingly equal disdain for hardline Marxists and softheaded Western liberals, Bentley quite literally made enemies right and left—but mostly left.
The occasion for our meeting was the aftermath of a centennial celebration at Town Hall, organized by soprano Karyn Levitt, who recently released the album Eric Bentley’s Brecht-Eisler Songbook. Bentley had watched the event—which was hosted by a former mentee and housemate, Michael Riedel (yes, that Michael Riedel), and featured tributes from various luminaries (including Kushner)—from home via livestream. Below are excerts from our conversation.
The objective of this project is twofold: to offer new access formats to the digitized collections of the BNE, and to generate through the conversion to ePub process, new data sets, clean and structured, which can be useful for the improvement of searches or the application of digital textual analysis tools.
One reason it’s significant is because many believe it founded the “picaresque” novel. This style features a lovable rogue, or pícaro, in episodic adventures. The style was later employed by many authors like Mark Twain in The Adventures of Huckleberry Finn.
Lazarillo de Tormes was also considered heretical due to its anti-clerical content, and this is why it was published anonymously. During the Spanish Inquisition, it was even banned.
Although distinguished scholars have tried to attribute it to different authors based on a variety of criteria, the book is still considered anonymous. The list of candidates is long and not all of them enjoy the same support within the scholarly community.
The Great Galeoto, by José Echegaray, translated by Eleanor Bontecou
The Duchess of San Quentin, by Benito Pérez Galdós, translated by Philip M. Hayden
Daniela, by Angel Guimerá, translated by John Garrett Underhill
From the Preface:
The drama of Spain, early and modern, has in English-speaking countries been sadly neglected. It is a regrettable fact that one of the most gorgeous and passionate outbursts of national dramatic genius has received but scant attention from English readers. Cervantes’ name is at least not unknown to the great mass of readers in every language, but to the majority of English and Americans, Lope de Vega, Tirso de Molina, and Calderon — to mention only the greatest of dozens of dramatists of the time — are a closed book. About fifteen Calderon plays are available in some form in English translation or adaptation, only two or three of Lope and, to my knowledge, not one of Tirso. Of the eighteenth century lesser lights I should venture to say that there is in English no translation. The case is the same with the dramatists of the early nineteenth century, if we except one or two notable translations and studies, like that recently issued by the Hispanic Society (a translation of Un drama nuevo). And yet this period saw a rebirth of the national spirit in the drama unequalled in any other country save France.
Jose Zorrilla was born 200 years ago in Valladolid on Feb 21st, 1817. He was educated by the Jesuits at the Real Seminario de Nobles in Madrid, wrote verses when he was twelve, became an enthusiastic admirer of Walter Scott and Chateaubriand, and took part in the school performances of plays by Lope de Vega and Calderón de la Barca.
In 1833 he was sent to study law at the University of Toledo, but after a year of idleness, he fled to Madrid, where he horrified the friends of his absolutist father by making violent speeches and by founding a newspaper which was promptly suppressed by the government. He narrowly escaped transportation to the Philippines, and passed the next few years in poverty.
The suicide of popular writer Mariano José de Larra, at age 29, brought Zorrilla into notice. His elegiac poem, read at Larra’s funeral in February 1837, introduced him to the leading men of letters. In 1837 he published a book of verses, mostly imitations of Alphonse de Lamartine and Victor Hugo, which was so favourably received that he printed six more volumes within three years.
After collaborating with Antonio García Gutiérrez on the play Juán Dondolo (1839) Zorrilla began his individual career as a dramatist with Cada cual con su razón (1840), and during the next five years he wrote twenty-two plays, many of them extremely successful. His Cantos del trovador (1841), a collection of national legends written in verse, made Zorilla second only to José de Espronceda in popular esteem in XVI century.
National legends also supply the themes of his dramas, which Zorilla often constructed by adapting older plays that had fallen out of fashion. For example, in El Zapatero y el Rey he recasts El montanés Juan Pascual by Juan de la Hoz y Mota; in La mejor Talon la espada he borrows from Agustín Moreto y Cavana’s Travesuras del estudiante Pantoja.
His famous play Don Juan Tenorio is a combination of elements from Tirso de Molina’s Burlador de Sevilla and from Alexandre Dumas, père’s Don Juan de Marana (which itself derives from Les Âmes du purgatoire by Prosper Mérimée). However, plays like Sancho García, El Rey loco, and El Alcalde Ronquillo are much more original. He considered his last play, Traidor, inconfeso y mártir (1845) his best play.
Upon the death of his mother in 1847 Zorrilla left Spain, resided for a while at Bordeaux, and settled in Paris, where his incomplete poem Granada was published in 1852. In a fit of depression, he emigrated to America three years later, hoping, he claimed, that yellow fever or smallpox would kill him. During eleven years in Mexico he wrote very little. He returned to Spain in 1866, to find himself half-forgotten and considered old-fashioned.
Friends helped Zorilla obtain a small post, but the republican minister later abolished it. He was always poor, especially for the 12 years after 1871. The publication of his autobiography, Recuerdos del tiempo viejo in 1880, did nothing to alleviate his poverty. Though his plays were still being performed, he received no money from them.
Finally, in his old age, critics began to reappraise his work, and brought him new fame. He received a pension of 30,000 reales, a gold medal of honor from the Spanish Academy, and, in 1889, the title of National Laureate. He died in Madrid on 23 January 1893.
In his early years, Zorrilla was known as an extraordinarily fast writer. He claimed he wrote El Caballo del Rey Don Sancho in three weeks, and that he put together El Puñal del Godo in two days. This may account for some of the technical faults—redundancy and verbosity—in his works. His plays often appeal to Spanish patriotic pride, and actors and audiences have enjoyed his effective dramaturgy.
Don Juan Tenorio is his best-known work. A new English verse translation with parallel Spanish text, translated by N. K. Mayberry and A. S. Kline, is available at this link.