ABSTRACT
In recent times diverse meetings and conferences have been devoted to a discussion of the translation of dramatic texts; most of these have focused on the translator's task, a topic that I argue is fundamental. However, certain aspects of the relationship between the play text and the mise en scène in terms of its on-stage performance have not been addressed till now. I am thinking about the interaction between the author and the translator and/ or the author and the director, or about new literary forms for the mise en scène (dance-theatre and contemporary libretti for opera). They need new theoretical perspectives.
