ABSTRACT
Jean Graham-Jones’s contribution to the volume examines the use of supertitles in Argentine theater artist Lola Arias’sCampo minado/Minefield. After providing a brief overview of recent Argentine texts and productions that have faced related translational challenges, Graham-Jones analyzes Arias’s multilingual production and its multiply sited reception. Demonstrating how the incorporation of supertitles into the performance itself had significant consequences, especially regarding the politics of translatability and untranslatability, the author argues that the increasingly creative use of supertitles in theater makes it imperative for artists, audiences and scholars to ask: What or who gets translated? Who or what does not? Why? What roles does visual translation play in the affective processes of performance and spectatorship? What are the ramifications of the use of translational technologies such as supertitles? What are the effects and affects produced by translatability and untranslatability?
