Why do so few plays move in the other direction? We get lots of Moliere and Ibsen, of course, but what happened to Racine? I understand that he's one of the Big Important French Playwrights, but I hardly see his stuff performed. Is it untranslatable? And I have no idea who the corresponding German would be. Goethe, of course, but Faust is not so much with the performability.
As someone who produces and performs for a living (or is trying to), I see two problems with most 'foreign' plays. #1, getting your hands on a good translation. #2, audience familiarity. Even Chekov and Moliere have a hard time pulling audiences in, so what hope does your smaller playwright have? Oh, and #3, how well does the culture the play is set in translate over? (Our four methods are....)
Also, Shakespeare is so revered and is considered such an integral part of 'canon' that using his plays may be unfair to the rest of the languages. How many Arthur Miller plays are translated, and in how many languages? Or, to put it differently, how often are Ben Jonson's works performed?
Sorry, I'm not trying to sound didatic or pompous. And I'm very curious about the answers to my last two questions. I'll have to research in a mo'.
Also, Shakespeare is so revered and is considered such an integral part of 'canon' that using his plays may be unfair to the rest of the languages.
Yes, but the thing is, Racine is equally canonical in French, or so I understand. Why do we import French novels but not French plays?
Yes, Hawkwind. It is absolutely impossible to get a grip on teh totality of the Eternal Champion thing, but the links are more metaphorical than plot-based - characters recur in different guises as incarnations of themselves (it happens outside Moorcock - Buffy is the Eternal Champion to a T). I've never managed to get through Elric myself. But you should really try the bastable trilogy (starts with Warlord of the Air), the Cornelius Quartet and the Dancers at the End Of Time sequence.
oswald Bastable - possibly the grown-up hero of E Nesbit's books - is a cavalry soldier who, in "our" 1904, finds himslef transported to a variety of alternate 1974 - the first is where the Pax Brittanica still holds, another where prester John invades the USA - and gets involved with the League of Temporal Adventurers (yeah, Alan Moore is to Moorcock what Oasis are to the Beatles).
The Cornelius quartet is '60s psychedelic scifi, hugely influential on cyberpunk, utterly insane.
Dancers at the end of time is a weird fin-de-seicle fantasia, again massively influential, in which a decadent fop from the End of Time falls in love with a Victorian woman-about-town. It's beautiful.
Talking from a position of 'a long time ago I used to know a very little bit about French literature' my impression is that Racine is very very French. Moliere is broad comedy that translates well; Racine, not so much.
I also studied German, admittedly in a half-assed fashion, for 2 years in college and cannot think of a single German playwright, excepting whatsisname, Mr. Mack the Knife, and do musicals count? Maybe the Germans do not write plays.
t hits self on head
Of course Brecht! Duuuuuuuh. Bad brain, no biscuit.
One need only glance at this anthology's [Cravings] lineup of authors to know that it's bound to be loaded with kinky, creative sex. And indeed, that's exactly what Hamilton delivers in "Beyond the Ardeur," which uses the setting of a wedding to bring back virtually the entire cast of characters from her popular series about necromancer Anita Blake. While Hamilton's fans will enjoy revisiting these night creatures, some may be disappointed to find that this tale is all sex and no slaying; the only mystery is which paranormal hunk(s) will satisfy Anita's ardeur.
Oh, dear, oh, dear, oh dear.
