Supporters of adaptation as a form of translation within itself postulate that all translation, “from the point of view of the target literature, implies a degree of manipulation of the Source Text for a particular purpose 7”.
VI.ĦThe issue of adaptation (manipulation) continues to generate serious debates with defenders arguing for both sides.
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In handling The Joker of Seville, Walcott was clearly aware of the multiple codes to be respected in the theatrical text: how to bring out different levels of cultural meaning, how to re-construct the identities of the characters, how to underline conflict, achieve emotional intensity, motivate the dramatic action. He argues for an end to this violence through the visibility of the translator-the “domestication” achieved in the translated work must not be allowed to replace the “foreignness” of the original text.
According to Venuti, the translation of a dramatic text is a double act of cultural transformation-that of the literary text and that of the performance text at the same time. 4A translation of the literary genre is, by definition and design, always subjective, bordering on an act of violence: “Translation is the forcible replacement of the linguistic and cultural difference of the foreign text with a text that will be intelligible to the target audience 5”.
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