Publicação
The Reception of Antigone in Brazil through Guilherme de Almeida’s Translation
| Resumo: | The translation of Sophocles’ Antigone by Guilherme de Almeida (1890-1969) – or “transcription”, as the translator preferred to call it, originally published in 1952 – is an achievement whose scope can be glimpsed by an observation about its reception by experts in the Greek language and literature. Conceived for the theater, the modernist poet’s Antigone was presented at the Teatro Brasileiro de Comédia on August 21, 1952; with a cast of actors renowned in Brazil, the play was a great success with the public by the standards of the time. The communicability of the translated text, demonstrated since its appearance on the scene, resists today, as I intend to demonstrate in this article, due to its qualities related to the prioritization of a rhythm constructed from a path of familiarization with the original text. |
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| Autores principais: | Fernandes, Marcelo Tápia |
| Assunto: | Sófocles Antígone Guilherme de Almeida tradução de teatro grego Antígona no Brasil Sophocles Antigone Guilherme de Almeida translation of Greek theater Antigone in Brazil |
| Ano: | 2025 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | Departamento de Línguas e Culturas da Universidade de Aveiro |
| Idioma: | português |
| Origem: | Forma Breve |
| Resumo: | The translation of Sophocles’ Antigone by Guilherme de Almeida (1890-1969) – or “transcription”, as the translator preferred to call it, originally published in 1952 – is an achievement whose scope can be glimpsed by an observation about its reception by experts in the Greek language and literature. Conceived for the theater, the modernist poet’s Antigone was presented at the Teatro Brasileiro de Comédia on August 21, 1952; with a cast of actors renowned in Brazil, the play was a great success with the public by the standards of the time. The communicability of the translated text, demonstrated since its appearance on the scene, resists today, as I intend to demonstrate in this article, due to its qualities related to the prioritization of a rhythm constructed from a path of familiarization with the original text. |
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