Autor/Autorin: Farjí Núñez Déborah
(México, 1979) holds an MA in Text and Performance Studies from King''s College London and the Royal Academy of Dramatic Art. In 2006, she was awarded by Programa Alßan, the European Union High Level Scholarships for Latin America. As a theatre professional,she has worked as an actress, dramaturg, and producer.
Translating from page to stage requires a director''s interpretation. This process unfolds a wide spectrum of possibilities when setting a scene, especially when producing a non familiar playwright in a foreign country. Therefore, the eyes of a dramaturg may provide the mechanisms to ensure that the author''s intention is conveniently transmitted and received by the audience, to the extent possible. Adapting text to theatre, film, and any other media requires a meticulous eye to determine the most suitable way to assemble it. In the profession of transforming ideas into practical reality, this work intends to get the best out of a play in visualization for an English audience, so that it can be more effectively communicated. Through the dossier of the Chilean play Infamous Electra (Benjamín Galemiri, 2005) the reader will access the outcome of the production process and an analysis regarding cultural and mental structure, narrative forms, and naturalization. Farjí Núñez intends to find, describe, and articulate the main features of theatre writing and making. More than a monograph about transculturation, you will find this book a practical source to read and to use worldwide.
Translating from page to stage requires a director s interpretation. This process unfolds a wide spectrum of possibilities when setting a scene, especially when producing a non familiar playwright in a foreign country. Therefore, the eyes of a dramaturg may provide the mechanisms to ensure that the author s intention is conveniently transmitted and received by the audience, to the extent possible. Adapting text to theatre, film, and any other media requires a meticulous eye to determine the most suitable way to assemble it. In the profession of transforming ideas into practical reality, this work intends to get the best out of a play in visualization for an English audience, so that it can be more effectively communicated. Through the dossier of the Chilean play Infamous Electra (Benjamín Galemiri, 2005) the reader will access the outcome of the production process and an analysis regarding cultural and mental structure, narrative forms, and naturalization. Farjí Núñez intends to find, describe, and articulate the main features of theatre writing and making. More than a monograph about transculturation, you will find this book a practical source to read and to use worldwide.
(México, 1979) holds an MA in Text and Performance Studies from King's College London and the Royal Academy of Dramatic Art. In 2006, she was awarded by Programa Alßan, the European Union High Level Scholarships for Latin America. As a theatre professional,she has worked as an actress, dramaturg, and producer.
Über den Autor
(México, 1979) holds an MA in Text and Performance Studies from King''s College London and the Royal Academy of Dramatic Art. In 2006, she was awarded by Programa Alßan, the European Union High Level Scholarships for Latin America. As a theatre professional,she has worked as an actress, dramaturg, and producer.
Klappentext
Translating from page to stage requires a director''s interpretation. This process unfolds a wide spectrum of possibilities when setting a scene, especially when producing a non familiar playwright in a foreign country. Therefore, the eyes of a dramaturg may provide the mechanisms to ensure that the author''s intention is conveniently transmitted and received by the audience, to the extent possible. Adapting text to theatre, film, and any other media requires a meticulous eye to determine the most suitable way to assemble it. In the profession of transforming ideas into practical reality, this work intends to get the best out of a play in visualization for an English audience, so that it can be more effectively communicated. Through the dossier of the Chilean play Infamous Electra (Benjamín Galemiri, 2005) the reader will access the outcome of the production process and an analysis regarding cultural and mental structure, narrative forms, and naturalization. Farjí Núñez intends to find, describe, and articulate the main features of theatre writing and making. More than a monograph about transculturation, you will find this book a practical source to read and to use worldwide.
