18 research outputs found
From littĂ©rature engagĂ©e to engaged translation : staging Jean-Paul Sartreâs theatre as a challenge to Francoâs rule in Spain
The practice of creating translations that ârouse, inspire, witness, mobilize, and incite to rebellionâ is described by Maria Tymoczko, following Jean-Paul Sartre's littĂ©rature engagĂ©e, as âengaged translationâ. In Spain, under the Franco dictatorship (1939â1975), the theatre became a site of opposition to his rule and the creation of âengagedâ translations of foreign plays was one of the ways in which alternative social and political realities were transmitted to local audiences. This was particularly evident during the so-called apertura period (1962â1969), when Spain's political leaders embraced more liberal and outward-facing cultural policies as part of their efforts to ensure the regime's continuity. Drawing on archival evidence from the state censorship files held at Archivo General de la AdministraciĂłn (AGA) in AlcalĂĄ de Henares, this article considers how âengagedâ translations of Sartre's theatre were employed as instruments of cultural opposition to the Spanish dictatorship. It also argues that an analysis of the files both helps us to understand the role of censorship in shaping an official version of the past, and shines a light on the memory of a little-studied aspect of cultural activism in the Spanish theatre.PostprintPeer reviewe
Le théùtre de la politique
Câest Sartre qui parle, le Sartre 1947, celui de Quâestâce que la littĂ©rature ? â le Sartre que lâon a peutâĂȘtre aujourdâhui le plus de satisfaction Ă suivre. (Situations II, p. 306. CitĂ© par Julia Kristeva.) Le centenaire de 2005 a rĂ©vĂ©lĂ© que Sartre reste toujours lâobjet vivant dâune polĂ©mique, que ce nom recouvre un homme et une pensĂ©e Ă attaquer, parce que, finalement, comme il le disait, « lâintelligence offense ». Les attaques, nous le savons bien, portent sur deux points, surtout : lâattitude de Sartre sous lâOccupation (on lui reproche somme toute de ne pas avoir rĂ©sistĂ© les armes Ă la main) et sa compromission avec les communistes dans les annĂ©es 1950