Humanum ex machina: Translation in the post-global, posthuman world

Translation sits at the epicentre of the biotech era’s exponential growth. e terms of reference of this discipline are becoming increasingly unstable as humans interface with machines, become melded with them, and ultimately become a networked entity alongside other networked entities. In this brave new world, the posthuman o ers a critical perspective that allows us to liberate our thinking in new ways and points towards the possibility of a translation theory that actively engages with other disciplines as a response to disciplinary hegemo- ny. is article looks at how technology has changed and is changing translation. It then explores the implications of transhumanism and the possibilities for a posthuman translation theory. Ultimately, the survival of translation studies will be contingent on the survival of translation itself and its ability to question its own subjective, posthuman self

There’ll always be an England – Butlins, Brexit and the Heterotopic Body

This article addresses the role of entertainment and performance in the holiday camp today as a way of understanding its interface with contemporary concerns around the impact of mass immigration and consequent emerging nationalisms. Focussing on the British Butlins holiday camp, which still maintains its original base in the English north-east coastal town of Skegness, the article builds on the work of earlier studies of leisure camps (and camps in general), in locating the function of entertainment as a key engine in driving forward a sense of ‘England’ which is at the same time nostalgic and isolationist. Within the context of the UK referendum result on June 15 2016 to exit the European Union, alongside recent concerns of new manifestations of racism and the marginalisation of foreign nationals working in the UK, the paper addresses the paradox of the use of a mode that has the capacity to engender empathy as a way of objectifying the Other and consolidating a notion of a single sovereign state. Ultimately, while acknowledging the contribution made by contemporary philosophers such as Giorgio Agamben to the field, the paper revisits and finds Foucault’s notion of heterotopias as a more dextrous way of conceiving of the ways in which entertainments are planned, produced and performed at British leisure camps today

The ritual

Translation of Samir Yazbek's play for the National Theatr

Translating ‘emerging’ playwrights: globalisation, innovation, praxis

In 1956, George Devine declared the Royal Court to be a “writers’ theatre” heralding in not so much an era but more a state of permanence for the Sloane Square venue with the following 57 years seeing it consistently developing and presenting new writing for the stage. For the past 17 years, however, its attention and development activity have begun to look beyond the confines of the Anglophone world to locations where plays are not written in English by writers who may well understand relatively little of the Royal Court or its distinctive output. Now boasting coverage of more than 70 countries and 30 languages, the theatre’s world route map resembles something from an intercontinental airline’s in-flight magazine. But why did the ‘international’ take hold of the Royal Court when it did and what role does translation play in negotiating, facilitating and promoting that process? This paper focuses on the role of the translator in translating the work of relatively new and inexperienced playwrights from other languages into English. Drawing on recent examples of my own work at the Royal Court and the National Theatre, I will contextualise this work in relation to social, political, cultural and technological changes. Taking the international activity of the Court as a paradigm example of translation’s ability to innovate within the tightest of prisms, I will explore both the ethical issues and the financial impact of this work – for the theatre, its international playwrights, and its translators. Finally, I will survey the current landscape of translation theory and its relevance, or otherwise, to current theatre translation practices, pointing the way to a number of developments that posit exciting challenges for all translators in the future

"Brokeback mountain" on the London Underground

How can adaptation studies be taught through practice? What role can creative writing have to play in developing an awareness of theory through practice

Why Hamilton's arrival In London should not be written off as just another mega-musical

On January 30, 2017, tickets will go on sale for the West End debut of Hamilton at London's Victoria Palace Theatre some nine months before it opens. The multi-Tony-award-winning musical tells the life story of American founding father Alexander Hamilton via a sung-through, hip hop-inspired score and a pared-down set which is far from the usual glitz and glitter of a theatrical form that has brought us the likes of Wicked (now in its eleventh year) and jukebox jamboree Mamma Mia. While its conceit may appear to be an odd choice for contemporary theatre, it is far from outlandish in the world of musical theatre where anything is possible, gravity can be defied, fear can be whistled away, and any dream, in fact, will do. But what feels particularly fresh and new about Hamilton is its ability to retell American history through an unashamedly multicultural lens. It offers a timely corrective to the current political landscape that has seen the rise of the so-called alt-right in its homeland alongside the ascendancy of President Trump who himself offers a readymade, larger-than-life character ripe for some future musical theatre makeover. While we have no idea how Hamilton will ultimately fare in a post-Article 50-invoked London, its debut will certainly resonate at a local level within an industry that has constantly fallen short of delivering diversity outcomes in roles that move up and beyond the chorus line

Analysing the screenplay: a comparative approach

How can The Talented Mr Ripley serve as a useful blueprint for analysing the essential differences between the screenplay and the play form

Uncovering New Voices at the Royal Court Theatre- Interview with Vicky Featherstone

An interview with Vicky Featherstone, artistic director of the Royal Court Theatre, on the impact of their work with communities

The big idea: PIIGS new short plays [Portugal]

Royal Court Austerity Season - translatio