The Linguist

@CIOL_Linguists AUGUST/SEPTEMBER The Linguist 13 FEATURES A grassroots initiative Since its early days, Foreign Affairs theatre company has almost exclusively worked with translated plays, and our approach has always recognised the translator as being integral to the creative process. A few years ago, I asked a group of translators about the main barriers they faced when working on play texts. They highlighted a lack of contact with performers and theatre-makers (i.e. working mainly in isolation); limited experience of the theatre-making process; and a lack of understanding of the wider industry and the 'business' side of things. In direct response to this, Foreign Affairs launched its Theatre Translator Mentorship programme in 2016. Its core aim is to facilitate a space in which emerging theatre translators can be immersed in a collaborative theatre environment where they can discover, explore and develop tools, skills and approaches to translating for the stage. In this sense, the programme reflects our approach to working with translated plays, placing the translator at the heart of the creative process. So far we've mentored 15 translators, with most going on to work with established UK theatres such as the Royal Court, New Earth Theatre and Theatre 503, as well as in the US (Theatre Y and The Cherry Arts) and Japan (Nissay Theatre). We are now in our fifth year, supporting four translators working from Hungarian, Italian, Norwegian and Spanish (for details see tinyurl.com/FAmentors). Our work has grown to include running masterclasses and workshops, often with other organisations and institutions, including Royal Court Theatre, the British Centre for Literary Translation and SOAS University of London. In 2020, during the pandemic, we launched our Theatre Translator Lab. Intended as a sequel to the mentorship programme, the Lab creates and supports a community of practice, inspired by our ensemble of performers and theatre-makers. Why translated plays matter Foreign Affairs is based in Hackney, east London – one of the most diverse boroughs in the country. We run theatre-making workshops for young people from the area, and are in the process of expanding our theatre translator training to include introductory workshops for local young people (in particular first- and second-generation migrants) with the hope of inspiring them to take up a career in theatre or translation or both. Foreign Affairs is by no means alone in championing translation and translators. Several like-minded companies are doing great work in this field, including Out of the Wings at King's College London, LegalAliens Theatre and Global Voices Theatre. So, why does theatre in translation matter? One of the great things about theatre is that it reminds us that we are not alone. With a few exceptions, making and seeing theatre is a collective act – a shared experience between performers and spectators. One study even showed that audience members' hearts beat in time when they're at the theatre. 1 Theatre offers insights into experiences beyond our own; add translation and the possibilities become boundless, as we are introduced not just to new experiences but to new worlds that we may otherwise never encounter. This offers a multitude of opportunities for exchange between cultures that open us up to new ideas, voices and ways of thinking. Cultural exchange can highlight our similarities (we all love, laugh and cry) and celebrate our differences and uniqueness, encouraging us to embrace a culturally diverse society (and industry). Against a backdrop of tightened borders, the hostile environment created by our current government, and legislation making it even harder for people to seek refuge in the UK, the importance of these exchanges is greater than ever. Foreign Affairs continues to champion theatre as a space to foster understanding, mutual respect and a sense of solidarity across borders. As a Dane living in the UK, I know from personal experience how theatre in translation can offer unique opportunities for migrant communities, including the chance to experience theatre 'from home' and to see themselves represented on stage. I am reminded of the words of one audience member following a performance of The Warmhouse (Varmestuen) by Anna Bro, translated from Danish by Paul Russell Garrett: "I've never seen someone like me on stage before – someone with an accent." This kind of inclusivity on stage and in our theatres has the power to unite and inspire audiences and communities – and, perhaps, to model a version of society we can aspire to. Notes 1 Unpublished research by a team at UCL PaLS in 2017 ; tinyurl.com/UCLDevlin DEVELOPING SKILLS A Foreign Affairs theatre translation workshop (above and right) in translation theatre IMAGES © LUCA MIGLIORE

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