Dramaturgia da tradução: construção dramatúrgica nas traduções brasileiras das peças de Franca Rame e Dario Fo disponíveis no acervo da SBAT

Abstract

This text investigates the reception of the work of the Italian playwrights Franca Rame and Dario Fo in Brazil by analyzing the translations into Portuguese made for the stage, that is, for the staging of their plays. Before discussing the translations, we provide an overview of the life and work of the authors and list the main characteristics of their plays (FARRELL, 2013; 2014; RAME; FO, 2009); furthermore, we go over some discussions about translation in general (BERMAN, 1995). In addition, we take up some discussions on translation criticism in general (BERMAN, 1995), on theater translation (PAVIS, 2008a and 2008b), and, more specifically, on the translation of the theatrical work of Rame and Fo (DUMONT-LEWI, 2012; 2016; 2020), presenting the concept of dramaturgy of translation, being fundamental the thoughts of Dort (1986) and Danan (2010) about the most recent concepts of dramaturgy, which expand the meanings of the term. There is no necessarily positive or negative evaluation regarding the idea of dramaturgy of translation, which consists in the overlap of the dramaturgical project - a set of aesthetic, ideological, and relational choices that anticipate the staging - of the translators on that of the author. Next, we analyze the plays available in the Sociedade Brasileira de Autores Teatrais (SBAT) collection and present data, including the critical reception, about their first stagings. In the analysis, two issues in particular were observed, corresponding to the two main challenges of those who insert the plays by Rame and Fo in the Brazilian cultural polysystem, linked to the socio-historical-cultural particularities of Italy: the translation, into Portuguese, of the political content and the humorous content of their theater. Overall, we consider that there are more cases of translation of dramaturgy - that is, the recreation, in another cultural polysystem, of the authors' dramaturgical project. It is in the translation of texts whose central theme is the women’s condition – Brincando em cima daquilo (1984) and Casal aberto... ma non troppo (1984) – that predominates the dramaturgy of translation, as well as in the film Não vamos pagar nada (2020). Besides the SBAT collection, the Biblioteca Jenny Klabin Segall, the Hemeroteca Digital da Biblioteca Nacional, the Folha de São Paulo newspaper collection and the Archivio Franca Rame-Dario Fo were fundamental sources for this research.