Introduction -- Section 1. The role of translation in rewriting naturalist theatre -- 1. The revolution of the human spirit, or 'there must be trolls in what I write' -- 2. Total translation: approaching an adaptation of Strindberg's The Dance of Death Parts One and Two -- 3. Doctors talking to doctors in Arthur Schnitzler's Professor Bernhardi -- 4. An antidote to Ibsen? British responses to Chekhov and the legacy of naturalism -- 5. The translation trance -- Section 2. Adapting classical drama at the turn of the twenty-first century -- 6. Adapting the classics: pall-bearers, mourners and resurrectionists -- 7. Hecuba, queen of what? -- 8. Paralinguistic translation in Sarah Kane's Phaedra's Love -- 9. Forces at work: Euripides' Medea at the National Theatre 2014 -- 10. Translation and/in performance: my experiments
Section 3. Translocating political activism in contemporary theatre -- 11. The critical and cultural fault lines of translation/adaptation in contemporary theatre -- 12. Handling 'Paulmann's dick': translating audience and character recognition in contemporary theatre -- 13. Wilhelm Genazino's Lieber Gott mach mich blind and the proportions of translation -- 14. Domestication as a political act: the case of Gavin Richards's translation of Dario Fo's Accidental Death of an Anarchist -- 15. Theatrical translation/theatrical production: Ramón Griffero's pre-texts for performance -- Section 4. Modernist narratives of translation in performance -- 16. The roaming art -- 17. Pinning down Piñera -- 18. Translating sicilianità in Pirandello's dialect play Liolà -- 19. Narratives of translation in performance: collaborative acts -- 20. How to solve a problem like Lorca: Anthony Weigh's Yerma -- 21. Multiple roles and shifting translations -- Afterword: 22. Adapting - and accessing - translation for the stage
