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Translation and paratexts

about not just what is being translated, but who is doing the translating. Brodie’s study could be extended, therefore, to not only examine the role of actors in meaning-making on the translated stage, but also to connect with the collaborative modes of translation in operation in the wider London theatre industry beyond the West End, where much more direct (rather than literal) translation activity is in evidence, and where different funding ecologies lead to production forms less common on the mainstream stage, such as international theatre festivals supported by interlingual surtitles and rehearsed, dramatised readings of foreign work in translation. Brodie’s in-depth investigation into the function of translation in the production of staged translations in mainstream London theatres is the first step in an exciting new phase of research into the overt and covert roles of theatre translators in the production of foreign work on the local stage.