In July we showcased one of the winning entries in the Years 7-11 category of our 2018 French Film Competition. This competition asked pupils to watch a French film and produce an alternative ending. The film selected for the Years 7-11 category was Jean-Loup Felicioli and Alain Gagnol’s Une vie de chat (2010). The point in the film at which the rewriting picked up was the 49:20 minute mark, at the moment when Nico says ‘Allez, accroche-toi bien Zoë’.
We are now pleased to publish the other winning entry in this category, a brilliantly conceived and produced film by Ethan Ross and co. Take a look at the film below – we hope it inspires you to produce your own films in French!
Teachers, if you are looking to introduce some ‘drama’ into your MFL classroom you might be interested in these exercises for multilingual drama teaching, created by the Creative Multilingualism Project with the Oxford Playhouse.
This post was originally published on the Creative Multilingualism blog. Here, professional translator Noah Birksted-Breen talks about translating the same play three times, taking into consideration different audiences and cultural reference points. You can also read an interview with Noah about Russian theatre here.
I have just finished translating Mikhail Durnenkov’s The War Hasn’t Yet Started for the third time in as many years. I’m in an unusual situation – one translator creating three different versions of the same play. As far as I know, that doesn’t normally happen. I have tried to take advantage of each opportunity to re-translate the play, adapting it significantly to the specific target audience.
In 2015, I translated The War for the first time, for my Ph.D. at Queen Mary University of London. Subsequently, this translation was presented as a rehearsed reading at the Frontline Club in London. I knew that the Frontline Club attracts a specialist audience, already familiar with Russian culture. I left the play in quite a ‘raw’ state. For example, I could indulge my audience with references to ‘dachas’ rather than ‘country houses’. I left the language sounding rather ‘strange’ or ‘foreign’. To English ears, it was somewhat stilted – although it worked for people who already know about Russian culture.
In 2016, Theatre Royal Plymouth produced The War in the Drum Theatre in Plymouth (their studio space with approx. 200 seats). I developed my translation further with the director Michael Fentiman, who directed the production in Plymouth. Fentiman had a good eye for clarifying cultural references which would not be clear to audiences in the UK. So, ‘dacha’ would become ‘country house’. But there were more difficult decisions to be taken as well about ‘hidden’ references.
For example, one scene in The War refers to ‘another country’, without specifying which one. Russian audiences would know from the scene that it refers to Ukraine. Russia has been waging a covert – and later more overt – war against Ukraine since 2014. It felt wrong to name Ukraine in the scene, since the drama works on a metaphorical level, as well as commenting obliquely on real-world geopolitics. Fentiman encouraged me to develop the references in a certain way. For example, the Russian TV journalist who willingly broadcasts a ‘fake news’ story about Ukraine refers to ‘them’ and ‘they’.
In my second translation, working with Fentiman, I ended up going for ‘those other people’ – which is tacitly xenophobic or at least judgemental. This less literal approach to the original text helped to create the sense of two hostile, warring neighbouring countries without needing to specify Russia and the Ukraine. It even added to the drama of the scene, I think, by highlighting the mentality of ‘us versus them’, which motivated the scene and the play as a whole. (The playwright is looking critically at the ‘us versus them’ mentality, rather than endorsing it!).
In January 2018, a new production of The War opened at London’s Southwark Playhouse. It is produced by the same company, Theatre Royal Plymouth, but there is a new director and therefore the translation will also be different. This has been my favourite experience of translation to date. Working with the director Gordon Anderson, I altered my translation even more than in 2016.
I moved yet further away from translation as a technical process which is ‘faithful’ to the original. Anderson’s TV experience gave him a keen eye for opportunities to edit and shape the dialogue – a step closer to adaptation. In the past, I might have objected. Scholars often feel that retaining the ‘foreignness’ of the play’s language is the highest priority of translation. Yet, my approach to translation has changed over many years – and Anderson pushed me to develop my approach still further. At times, I added to the dialogue and at times, I cut dialogue from the scenes, where I felt that the spirit of the original was getting ‘lost in translation’.
This way of working sees the translator as essentially creating a ‘new play’. Obviously, this ‘new play’ has to embody the spirit of the original, but it needn’t be overly faithful to the original. Translating The War for the third time, I wanted the London audience to experience the drama (the story and structure) of this play, without getting bogged down in the ‘strangeness’ of the language itself. This method captures a more nuanced view of Russian culture. It aims to create a natural-sounding text in English which retains difference, or even ‘strangeness’, in the plotting or characters.
That makes sense when you think about it. After all, Russian culture is not ‘isolated’ in its own bubble. I regularly speak to Russian playwrights who tell me that they are equally inspired by Russian culture as by British playwriting. Any translation must find a nuanced balance between being ‘strange’ (or ‘foreign) and ‘natural’. The language should not be an obstacle for the audience. Otherwise, Russian plays are being translated solely to be watched by audiences who are already familiar with Russian culture.
I have come to believe that translation is more about capturing ‘unfamiliar ways of thinking’. In The War, there are a series of competing realities. Different characters see the world in contradictory ways. The play suggests that ‘your truth’ and ‘my truth’ cannot both be true. In other words, The War offers an experience of living in a post-truth era – just as relevant to British audiences as Russian ones. I have come to feel that translation is like telling somebody about a dream you had the previous night. You have to explain what you saw as clearly as possible, in a language which they will understand. The meaning of the dream is elusive…. What matters is how it felt when you were asleep, and finding a natural-sounding way to explain the odd experiences in the dream to your listener. I hope that my least ‘faithful’ translation of The War captures the dream-like but arresting quality of the original play in a clear and lucid language.
This post was originally published on the Creative Multilingualism blog, and was written by Dr Marianna Bolgonesi. Here, Marianna talks about the issue of metaphors when it comes to learning a foreign language. A long version of this post is available here.
Anyone who has learned a foreign language knows that some words are more difficult to master than others. This seems to be particularly true for words with multiple meanings, and specifically words that can be used metaphorically.
But why? Metaphoric expressions vary greatly across languages, and they are often soaked in cultural habits and beliefs. For example, while English people may have ‘butterflies in their stomach’, Chinese people will have ‘a little deer jumping in their heart’. Moreover, while some of these expressions trigger images that can help the learners understand the metaphorical meaning, others are less clear, and some seem to have no rational explanation: alarms go off when they actually go on, and houses burn up as they burn down!
The following questions arise:
Is metaphor, a universal phenomenon across languages, a hallmark of human language?
Is it possible to distinguish what is universal and what is language/culture specific in relation to metaphor?
Why is metaphor a problem for foreign learners and how do language learners understand and use metaphor?
Can metaphor be taught? (And if so, how?)
These questions were explored in a discussion chaired by Dr Marianna Bolognesi with Professor Jeannette Littlemore (University of Birmingham) and Dr Linda Fisher (University of Cambridge) at an event in Oxford in February. During the debate it emerged how metaphors in language influence the way we think, and therefore, metaphoric expressions that we use on a daily basis can indeed be quite tricky for learners that have a different mother tongue, because they might think in different ways. If we look at how language shapes our world view, in particular when it comes to metaphoric expressions, we can see that while some expressions translate directly from one language to another, word by word, others do not.
Consider, for example, ‘the statement it’s raining cats and dogs’, a classic idiomatic expression (a specific type of very conventionalised metaphor in language) that we use to say ‘it’s raining a lot’. In other languages the image of cats and dogs is quite different: in Catalan it rains barrels and casks (Està plovent a bots i barrals), in Dutch pipe stems (Het regent pijpestelen), in Irish Gaelic cobblers’ knives (Tá sé ag caitheamh sceana gréasaí) and in Norwegian female trolls (Det regner trollkjerringer). These various ‘entities falling from the sky’ are probably related to cultural traditions and experiences that are typically shared by the communities that speak these languages. These expressions are therefore very different from one another. However, they share an underlying common trait: all of them are quite unpleasant when falling from the sky, as well as unexpected, and heavier than normal (literal) rain. All of these common traits constitute the core, underlying meaning of these metaphoric expressions, which is related to our bodily experiences with heavy rain. These bodily experiences, at the very basic level of perception, are not that different across languages and cultures, because we are all humans and share similar bodies.
Even within the same language, for example English, it is possible to come up with creative variations of conventional metaphoric expressions. Urban Dictionary, for example, has an extensive list of alternatives to ‘It’s raining cats and dogs’, including ‘it’s raining pitchforks’ and ‘it’s raining like a cow peeing on a flat rock’.
In the second half of the debate we focused on the problems that metaphors cause for foreign language learners, and the solutions proposed to overcome these problems. On the one hand, metaphors can indeed be problematic for learners, because learners tend to process linguistic input word by word, and translate word by word what they hear in a foreign language. However, metaphors, as already discussed, do not translate word by word, most of the time. Moreover, learners often do not realise that they have not understood the intended meaning, and this can cause additional problems in the classroom, because they give misleadingly positive feedback to the teacher (‘yes, we understood everything!’). It seems therefore crucial for the teacher to be very careful when using metaphors in the target language and to double check with the students how they have interpreted the metaphor.
Metaphors, on the other hand, can also be a very productive tool when used in the classroom to express beliefs and conceptualisations that students may be more willing to share through metaphors than through literal (and often quite abstract and difficult) language. In this sense, metaphors can help the students to embrace a creative way of thinking and talking, putting aside their fear of making mistakes, and conveying messages in a way that better reflects their personal, cultural and social identity.
School’s out for summer and you may be wondering what to do with yourself over the holiday. If you’re looking for ways to broaden your intellectual horizons one great resource is Oxplore, a digital learning experience created by Oxford University for students aged 11-18. Oxplore encourages you to consider ‘Big Questions’, for example, ‘Should you believe the history books?’ or ‘Would you want to live forever?’ The questions explored draw on several subjects and aim to engage with ideas in a way that goes beyond what you’ll cover in the classroom.
One particular question explored, which throws a spotlight on Modern Languages, is ‘Would it be better if we all spoke the same language?’ You can check out this question on the Being Human strand of the website. The exploration of this question included a discussion with Prof. Katrin Kohl and Dr Marianna Bolognesi, researchers on the Creative Multilingualism Project. This discussion, where Katrin and Marianna answer some questions submitted by viewers, is available to view below.
With such a rich topic, it was inevitable that there would be more questions than it was possible to answer during the livestreamed discussion. Therefore, Katrin and Marianna also took the time to answer some of the questions they didn’t cover on the Creative Miultilingualism blog. Click here to see some of their answers.
A blog for students and teachers of Years 11 to 13, and anyone else with an interest in Modern Foreign Languages and Cultures, written by the staff and students of Oxford University. Updated every Wednesday!
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