"There is no shakier reflection of the word...": Shakespeare in the translations of Tatiana Shchepkina-Kupernik

The author considers the translation of drama as a kind of literary translation. The author proceeds from the premise that dramatic translation is a type of literary translation that is dialogical in nature: it contains both literary and theatrical elements, in other words, in addition to the requirements imposed on the literary text, it must comply with the laws of the stage and the direction of the word. In the article, the author distinguishes the text as literary and theatrical material. Special attention is paid to the description of Tatiana Shchepkina-Kupernik's translation work in the field of drama. Using the example of individual scenes from Romeo and Juliet, the author examines the purposeful use of dialectal forms and jargon as an integral part of the author's idiosyncrasy, attention to rhyme and preservation of rhythm, and adaptation of the text for its subsequent pronunciation in a theatrical setting. The article uses the method of analytical study of sources. Based on archival materials, which are being introduced into scientific circulation for the first time, the relationship between Shchepkina-Kupernik and theater directors in the process of working on dramatic translations and their further stage implementation is considered; the translator's initial attitude to the person's perception of the translated of the literary text is revealed. The author concludes that in her work on dramatic translations of Shakespeare, T. L. Shchepkina-Kupernik considered the main thing not only to maximize the preservation of the author's style, balance, clarity in the transmission of meanings and images, but also to preserve the possibility of the scenic embodiment of the author's idea and its nature. Also, the translator paid special attention to the interpretation of words. Of particular research interest are the comments of Maria Knebel, an outstanding Soviet director, on the translation of Shakespeare's comedy "As You Like It". Based on individual memoir sources, the Shchepkina-Kupernik translation principles are revealed, thanks to which the director and actors get the opportunity to work with ready-made dramatic material that does not require literary refinement for convincing presentation in stage conditions.

Literary translation, drama translation, theatrical performance, Shakespeare, T. Shchepkina-Kupernik, Knebel, sonnet, stage dialogue, idiostyle, memoirs