ABSTRACT
The theatrical translator must be sensitive to and convey the dramatic structure of the play as well as allow for subsequent approaches to the mise en scene in production. The theatrical translation issue at the forefront of Downstream is Ramon Griffero’s extensive use of music throughout the play and how it connects to issues of memory and sphericality in the play. In The Dramaturgy of Space, Griffero posits that human society conceives of space primarily in terms of squares and rectangles, but that those forms do not occur naturally in the non-human environment. The politics of The Dramaturgy of Space turns to the creative power of the theatre as a site for an ontological rebirth that moves beyond spoken discourse to enable people to discover ourselves. The process of theatrical translation enables them to experience that creative power of the theatre through pre-texts for performance.
