lunedì 8 maggio, ore 11.00, Lab. 04, Edificio Marco Polo, Piano III
Conferenza di Marios Chatziprokopiou, Università di Tessaglia.
In the prologue of her Antigonick, Anne Carson harks back to Ingeborg Bachmann’s verse ‘I lose my screams’, and states: ‘Dear Antigone,/ I take it as the task of the translator/ to forbid you should ever lose your screams’. Inspired by Bachmann’s verse and Carson’s statement, my talk investigates recent re-inscriptions of Antigone in Latin American dramaturgy and performance, in close connection to the process of translating these Antígonas into Modern Greek, but also in relation to contemporary Greek performances. If ‘all reading is translation’ (Spivak), and ‘all translation is adaptation’ (Athanasiou), I look at once at the performativity of texts, bodies, voices, and silences, in order to ask questions such as: how and in which particular contexts does Antigone’s lament get reinvented? How and to what extent can such reinventions mourn disappeared bodies? Which lives are in each case considered to be grievable, and which ones are displaced from the official sphere of memorability? And further, in which ways can we look at these laments -and at their multiform translations- as embodied acts of resistance?
Information link click HERE
Poster
Conferenza di Marios Chatziprokopiou, Università di Tessaglia.
In the prologue of her Antigonick, Anne Carson harks back to Ingeborg Bachmann’s verse ‘I lose my screams’, and states: ‘Dear Antigone,/ I take it as the task of the translator/ to forbid you should ever lose your screams’. Inspired by Bachmann’s verse and Carson’s statement, my talk investigates recent re-inscriptions of Antigone in Latin American dramaturgy and performance, in close connection to the process of translating these Antígonas into Modern Greek, but also in relation to contemporary Greek performances. If ‘all reading is translation’ (Spivak), and ‘all translation is adaptation’ (Athanasiou), I look at once at the performativity of texts, bodies, voices, and silences, in order to ask questions such as: how and in which particular contexts does Antigone’s lament get reinvented? How and to what extent can such reinventions mourn disappeared bodies? Which lives are in each case considered to be grievable, and which ones are displaced from the official sphere of memorability? And further, in which ways can we look at these laments -and at their multiform translations- as embodied acts of resistance?
Information link click HERE
Poster