Kirjahaku

Evita, Inevitably sheds new light on the history and culture of Argentina by examining the performances and reception of the country’s most iconic female figures, in particular, Eva Perón, who rose from poverty to become a powerful international figure. The book links the Evita legend to a broader pattern of female iconicity from the mid-nineteenth century onward, reading Evita against the performances of other female icons: Camila O’Gorman, executed by firing squad over her affair with a Jesuit priest; Difunta Correa, a devotional figure who has achieved near-sainthood; cumbia-pop performer Gilda; the country’s patron saint, the Virgin of Luján; and finally, Argentina’s president, Cristina Fernández de Kirchner. Employing the tools of discursive, visual, and performance analysis, Jean Graham-Jones studies theatrical performance, literature, film, folklore, Catholic iconography, and Internet culture to document the ways in which these “femicons” have been staged.

Evita, Inevitably sheds new light on the history and culture of Argentina by examining the performances and reception of the country’s most iconic female figures, in particular, Eva Perón, who rose from poverty to become a powerful international figure. The book links the Evita legend to a broader pattern of female iconicity from the mid-nineteenth century onward, reading Evita against the performances of other female icons: Camila O’Gorman, executed by firing squad over her affair with a Jesuit priest; Difunta Correa, a devotional figure who has achieved near-sainthood; cumbia-pop performer Gilda; the country’s patron saint, the Virgin of Luján; and finally, Argentina’s president, Cristina Fernández de Kirchner. Employing the tools of discursive, visual, and performance analysis, Jean Graham-Jones studies theatrical performance, literature, film, folklore, Catholic iconography, and Internet culture to document the ways in which these “femicons” have been staged.

Radically rethinking translation for the contemporary international stage, Jean Graham-Jones interrogates standard linguistic and cultural categories and proposes an overhaul of the translation process itself, incorporating dramaturgical logic and staging, actor training and performance styles, gesture and embodiment, and performance aesthetics and reception. She demonstrates how a theory of translationality – in which translations do not erase the original but rather stand in relation to it and to other texts and performances – encapsulates the collaborative process between contemporary translators and theatre artists. Presenting multiple experiential cases and drawing on Graham-Jones's own career as a translator, actor, director and scholar working in Argentina, the US, and the UK, this richly interdisciplinary work extends a traditional understanding of contemporary performance translation and its potential in theatrical practice.

Radically rethinking translation for the contemporary international stage, Jean Graham-Jones interrogates standard linguistic and cultural categories and proposes an overhaul of the translation process itself, incorporating dramaturgical logic and staging, actor training and performance styles, gesture and embodiment, and performance aesthetics and reception. She demonstrates how a theory of translationality – in which translations do not erase the original but rather stand in relation to it and to other texts and performances – encapsulates the collaborative process between contemporary translators and theatre artists. Presenting multiple experiential cases and drawing on Graham-Jones's own career as a translator, actor, director and scholar working in Argentina, the US, and the UK, this richly interdisciplinary work extends a traditional understanding of contemporary performance translation and its potential in theatrical practice.