- It is a truth universally acknowledged that Soviet literary translators were the best in the world (as well as cosmonauts and ballet dancers).
- What happened to them after the Perestroika?
- Does a new era require new translation principles?
- And where does this leave the reader?
Most fiction published in English is originally written in English. In many countries, including Russia, the situation is almost reversed, and translated fiction dominates the market. Borisenko and Sonkin will talk about Soviet-era translation and its influence, the great changes inpost-Soviet times, and the challenges that Russian literary translators encounter today.
Continue reading “Literary translation during the Soviet and Post Soviet period”
Russia, 1967 – released 1988
Russian w/ English subtitles >> play the trailer
A work of considerable artistic merit, Aleksandr Askoldov’s Commissar (Комиссар) is nonetheless most famous on other than artistic grounds. Based on the story “In the Town of Berdichev” by Ukrainian Jewish author Vasili Grossman, it is writer-director Askoldov’s only film.
Continue reading “Comissar”
will speak about his experiences compiling the anthology 1917: Stories and Poems from the Russian Revolution (Pushkin Press, 2016) and translating Isaac Babel’s Red Cavalry (Pushkin Press, 2014) and Odessa Stories (Pushkin Press, 2016) and read stories from Red Cavalry.
Continue reading “Resurrecting the Revolution”
Январь 2017 года в нашем клубе будет в большой степени месяцем перевода.
У нас выступят переводчик с русского на английский Борис Друлюк из Америки и пара переводчиков из Москвы Александра Борисенко и Виктор Сонькин.
Мне хочется в связи с этим спеть короткую оду литературному переводу и его безымянным героям. Continue reading “Ода переводу”
Change is in the air.
Arcola’s new season investigates a world on the brink of profound change. It explores the causes and the colossal impact of the Russian Revolution 100 years on, and considers the people and ideas which could shape the next century.
Continue reading “Arcola Theatre – Revolution”
After his fearsome 1948 condemnation at the hands of the Union of Composers and Stalin’s ‘cultural’ henchman Andrey Zhdanov, Shostakovich was understandably careful about what he composed next and what he revealed in public. His position was undoubtedly dangerous. In the autumn of the same year he compiled a strikingly unusual song-cycle for three singers and piano: the texts were taken from a collection of Russian translations of Jewish lyrics, mostly originally in Yiddish but one or two Hebrew or Russian; the melodies he created were original but closely related to the style of ‘klezmer’ music which Shostakovich knew and loved. The ensemble of three singers gives almost the feeling of a chamber opera.
Continue reading “Shostakovich – From Jewish Folk Poetry”