ABSTRACT

This chapter interrogates the proportionalities of textual and non-textual elements in staging Wilhelm Genazino’s drama, and their relevance for the interplay of translating and staging contemporary drama. It describes key instances of translatorial agency as reproportioning. Such activity is a proportionate response to non-specification within Genazino’s source text of stage size and shape. This translatorial strategy of reproportioning also mediates between differences in specifications within which directors have endowed notable productions of Genazino’s play. Within a large and hybrid contemporary German theatrescape, Lieber Gott mach mich blind’s accommodation is continuing to evolve long into its performance and publication history. The chapter explains how the prospective translator should evaluate colloquial language within the German script in proportion to significant intertextualities with Genazino’s other work. The stage sets are already following a path of perpetual free translocation, by virtue of their variations from production to production, independent from the writer’s involvement and scripting.