000			02235nas a2200385la 4500
005			20221221145238.0
008			211222s2006 xxcqr||| |||| 0 ||eng d
020			_a2-7606-1929-X
022			_a0026-0452
040			_aAR-BaCTP _bspa _cAR-BaCTP
041			_aeng
080			_aH 23
100			_aMateo, Marta _912963 _d1959-
210			_aMETA
245		0	_aSuccessful strategies in drama translation: Yasmina Reza’s “Art”
260			_aMontréal _bUniversité de Montréal _cmars 2006
300			_ap. 175-183
310			_aTrimestral
490			_vv. 51, n. 1 _aMeta Volume 51, numéro 1, mars 2006
500			_aincl. ref.
520			_aYasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two translations of “Art” – Christopher Hampton’s English text and Josep M. Flotats’s version into Spanish –, which, despite having a similar aim, i.e., making the play function on stage, have followed different translation strategies to make it work in their different target contexts.
521			_a.
650		2	_aTRADUCCION TEATRAL _97919
650		2	_aTRADUCCIÓN Y CULTURA _97924
650		2	_aTRADUCCIÓN DEL/AL FRANCÉS _97855
650		2	_aTRADUCCIÓN DEL/AL ESPAÑOL _97853
650		2	_aTRADUCCIÓN DEL/AL INGLÉS _97863
650		2	_aAUTORES FRANCESES _94606
653			_aESTRATEGIAS DE TRADUCCION
658			_918447 _aTRADUCCIONES DE YASMINA REZA
773			_010326 _tMeta, volume 51, numéro 1 _x0026-0452 _dMontréal : Université de Montréal, 1977-2010 _aUniversité de Montréal _oMETA-51-1_175-183 _913192
856			_uhttps://www.erudit.org/fr/revues/meta/2006-v51-n1-meta1129/013006ar.pdf
900			_f20060301
942			_cART _2udc _n0
999			_c10118 _d10118