earticle

영어

The text of an opera (libretto) is in most cases written in Italian, German or French. Up to the mid-20th century, it was enough for a translator to follow what the librettist said when translating one into another language. But around that time, it became necessary for the translator to take into account the world view of the stage director who took charge of the production of a specific performance, because the directors wanted to salvage the music by shaking off the outdated or criticized values like nationalism interwoven in the drama. The concept of this new approach is wrapped up in the German term ‘Regietheater.’ liberated the reader (namely, the director or a spectator of a performing artwork) from the author's text, thereby allowing freedom of shifting the time and place of a drama or replace the undesirable philosophy with a vision intended by the director. This opens the door for as many interpretations of the philosophy of the librettist as there are directors, giving birth to a multiple number of source texts based on one original text, the libretto. This paper looks into the possibility of multiple translations corresponding to these source texts.