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Homeless Words: Field Day and the Politics of Translation

Throughout his career, Bertolt Brecht often returned to "old plays" to explore, refine, and enlarge the scope of dialectical theater. What is perhaps surprising is that this strategy — the translation of Western classics — has remained a staple means of political critique in the theater, including theaters emerging from colonial domination. This is surprising in part because translation so readily raises questions of fidelity: translation can appear to locate resistant theater in a belated relation to dominant or hegemonic culture. Yet while translation enacts a gesture of fidelity, it also performs an act of appropriation, blurring a merely dualistic politics, particularly when verbal translation is accompanied by the transformation or hybridization of form.