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Resumen: This article aims to examine the most frequent strategies used in translation of interjections in Persian translated versions of English dramas. The corpus consists of the odd acts of three English drama texts and the data consists of original English interjections which are compared with their Persian translational equivalents in terms of translation strategies. Interjections are analyzed in four categories as primary interjections, secondary interjections, primary + secondary interjections and primary intejections + affirmation/negation.

Resumen: La traducción en las artes escénicas es una sugerente monografía, que, a manera de festival cultural, presenta en escena acertadas reflexiones en torno a la teoría y práctica de la traducción del texto dramático-musical, la traducción intersemiótica entre literatura y música, la adaptación de obras para su puesta en escena, el teatro misionero, los avatares de la traducción y edición de obras y autores extranjeros de renombre en España y la recepción de autores dramáticos españoles allende nuestras fronteras literarias, la traducción realizada por actores y autores teatrales, las variantes dialectales en los textos dramáticos, la construcción de los diálogos, la traducción y adaptación de textos de música popular para la escena... Un total de veintiocho autores, procedentes de dieciocho universidades y de seis países diferentes, han aunado esfuerzos para poner en manos del lector interesado el resultado de sus investigaciones en torno a La traducción en las artes escénicas.

Resumen: The aim of this paper is to identify and analyze the strategies used to translate into English death related cultural taboos viz. death, ghost and resurrection represented in the prominent classical Chinese drama Mudan Ting. Particular reference is made to the articulation of these taboos in three seminal English versions of Mudan Ting (as Peony Pavilion) by Cyril Birch, Wang Rongpei and Zhang Guanqian, respectively. Although these translators all follow the source text closely, certain differences in their translation strategies warrant attention. Cyril Birch takes an acculturation approach to the translation of death-related material, whereas Wang Rongpei adheres to the original text and tends to use semantic translation. In contrast, Zhang Guanqian usually translates literally, infusing the English text with a "foreign" flavor. These differences are examined in light of the general propensity among translators to take an avoidance approach to death-related material. The strategies used to translate taboo subjects are found to depend on the translator's intentions, the target readership, the specific nature of the culturally loaded elements and the availability of equivalent expressions in the target language and culture.

Resumen: El texto The Plough and the stars, del dramaturgo irlandés Sean O'Casey (1884-1964), al que apenas se ha prestado atención en lengua castellana. Este drama, es la tercera obra de una trilogía de tema dublinés (Junto con Juno and the Paycock y The Shadow of a Gunman), de la cual sólo la que nos ocupa ha sido traducida, con el título de El arado y las estrella, tarea acometida por Jesús Fomperosa.

Resumen: Drama translation studies used to be the most neglected area in translation studies due to its prescriptive approaches and reductionist illusion of polarization of performability and readability. Corpus stylistics of drama, with the aid of computer technology as well as the understanding of the true nature of drama as the dialectical combination of both literary and theatrical characteristics, appears to be a remarkable theoretical framework and methodology for drama translation studies. The study of (im)politeness in Death of a Salesman and its two Chinese versions is undertaken as a case study. ICTCLAS and Concordance 3.0 were used to calculate the high frequent expressions concerning (im)politeness in both the original text and the Chinese versions, followed by the analysis of their stylistic function. It is found that modal particles and slang expressions in Chinese are useful to reconstruct the characterization, plot as well as performability of the translated drama. In conclusion, corpus stylistics of drama is of high feasibility in drama translation studies.