Invisible Presences: Translation, Dramaturgy and Performance

Drama and Film Centre
Queen’s University Belfast
18‐20 April 2011

This international conference will explore the dramaturgical processes of translation in performance practice, whether across language and culture or the translation of ideas into material production. Rather than seeing the processes of writing (whether collaborative or singleauthored), translation, rehearsal, production, and audience reception as separate and discrete, the conference will engage with approaches that view the process as more of a continuum, one that is perpetually at work. In this way the conference offers the opportunity for dialogue between contemporary practitioners, both translators and theatre makers, and for new insights into dramaturgy and translation that seek to map the growing convergence between theatre practice and translation.

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For more information, David Johnston at This email address is being protected from spambots. You need JavaScript enabled to view it.

To register click here (Registration deadline in 20 Mar 2011)

Gottes Vorstellung

Untersuchungen zur literarischen Ästhetik und ästhetischen Theologie des Alten Testaments

by Helmut Utzschneider

BWANT 175, Stuttgart: Kohlhammer: 2007

This collection of studies on literary aesthetics in the Hebrew Bible considers reading the bible in the light of fundamental literary questions, such as “text dialogue – intertextuality and translation, and, aspects of performance. The studies focus among others  on  Gen 32:23-33; Am 7:10-17; Maleachi 1:6-2:16; Hos 5:8-6:6; Micah 4:8-5:3. For scholars interested in performance criticism, the considerations on the form and the dramatic outline of the prophetic books are of utmost interest. Utzschneider’s suggestion are well considered. His interest in the performative aspect of biblical prophets dates back to his attempts to define performative aspects in prophetic books in his dissertation on Hosea 25 years ago. Utzschneider also focuses on scenes in Micah 4:8-5:3, discussing the theory of the German scholar Hans Walter Wolff. Wolff had understood parts of the books of the latter prophets as so-called “Auftrittsskizzen”, i.e. an outline of a performance, a snapshot of a prophet’s appearance, containing mainly a written note of the once orally spoken prophetic word. Utzschneider carefully considers Wolff’s suggestions and comes to the conclusion that the dramatic character of the prophetic poetic texts is not so much a “historical”, but rather a literary dimension of Israelite prophetic texts. Micah 4:8-5:3 offers a sequel of three scenes in which different personae appear “on (a literary) stage”: the screaming of the abandonees and the turnout into the exile is heard in 4:9-10; the besieger’s mock themselves about themselves in Micah 4: 11-13), and, a third scene features a humiliated king 4:14 together with the announcement of a new ruler in 5:1-3. The dramatic interpretation of the prophet Micah is more fully spelled out in Utzschneider’s 2005 commentary on Micah in the Theologischer Verlag Zurich. The articles in a following last passage of this book, reflect broader on aesthetic theology in the Old Testament, referring more specifically to drama as a universal genre, especially on attic tragedy and Egyptian cultic drama. With this volume, Utzschneider offers fascinating perspectives on the Old Testament scholarship in the field of aesthetic theology and performance criticism.