Ana Ćurčin & Stray Dogg (Dukat) from Belgrade will perform at the 4th edition of polip. Here is a link to have a little preview of their performance on the 17th of May 2014:
Translating literature is a reoccurring issue that has been present throughout all periods of literature. But how does literature rise above its own linguistic limitations? How much has Albanian literature been translated into German, and what is the role of translators from Albanian in German and vice-versa?
Albanian is a particular and complex language when it comes to its morphological and syntax structure. So, what are the challenges of translating Albanian literature into German?
What are the chances that the work of Albanian author finds its light in German? Does this depend on the quality of literature, the subject theme, or how it talks about the present, or is it simply, chance and individual efforts? How does translation determine the fate of the translated work, how much it is accepted or refused when it goes beyond its language barriers?
What is the difference or what are the main differences between translating literature and other kinds of works? Are the skills and the talent of the translator the most important thing, or do ethics play a role too.
Translation is not only about words, but also about where those words come from. How much does the translator need to know about the writer, the culture of the language that they the belong to and its tradition?
Through translation we manage to know literature, great works of art, the cultures and the mindsets of other people. How do we approach translation of literature today, so we don’t get lost in translation?
Panelists: Zuzana Finger (DE), Hans-Joachim Lanksch (DE), Ulrike Syha (DE), Kim Komljanec (SI)
Moderator: Blerina Rogova Gaxha (RKS)
Translation: Rexhep Bajrami (RKS)
E shtunë, 17.05.2014
Përgjimi i Letërsisë 2: cka nuk mund të përkthehet
Përkthimi i letërsisë është një temë që e riaktualizon vetveten dhe e përcjellë çdo periudhë nëpër të cilën kalon letërsia. Çfarë është procesi i kalimit të letërsisë së caktuar përtej kufijve të vetë gjuhësorë. Sa është përkthyer letërsia shqipe në gjuhën gjermane dhe çfarë është roli përkthyesve të letërsisë nga shqipja në gjermanisht dhe anasjelltas?
Shqipja është një gjuhë karakteristike dhe komplekse për nga ndërtimi morfologjik dhe ai sintaksor. Çfarë janë sfidat e përkthimit të letërsisë shqipe në gjuhën gjermane?
Çfarë janë mundësitë që vepra e një autori shqiptarë të përkthehet në gjuhën gjermane? A varet kjo nga cilësia e letërsisë, tematika që trajtojnë, aktualiteti që përmbajnë, apo thjesht, nga fati dhe gjindshmëria individuale? Sa e derminon përkthimi fatin e letërsisë së përkthyer, pranimin apo refuzimin kur ajo e kalon kufirin e vet gjuhësor.
Cili është dallimi apo dallimet themelore mes përkthimit të letërsisë dhe përkthimeve të kategorive tjera? A kemi të bëjmë gjithmonë me aftësinë dhe talentin e përkthyesve, apo mund të mund të bëhet fjalë edhe për etikën e përkthyesit.
Përkthimi nuk ka të bëjë vetëm me fjalët, por edhe me faktin se prej nga na vijnë ato fjalë. Sa duhet ta njohin përkthyesit shkrimtarin që e përkthejnë, kulturën e gjuhws prej tw cilws pwrkthejnw dhe traditën e saj?
Përmes përkthimit, ne arrijmë të njohim letërsinë, veprat e mëdha, kulturën e mendësinë e popujve tjerë. Si duhet t’i qasemi përkthimit të letërsisë sot, në mënyrë që të mos jem i të humbur në përkthim?
Panelist: Zuzana Finger (DE), Hans-Joachim Lanksch (DE), Ulrike Syha (DE), Kim Komljanec (SI)
Moderator: Blerina Rogova Gaxha (RKS)
Përkthyes: Rexhep Bajrami (RKS)
16:00 – 17:30 The surveillance of literature 1: Book promotion + debate
Reading and promotion of the book “Dreams of love and death” by Filip David, an author from Serbia, translated into Albanian by Smajl Smaka. Visar Zhiti, a poet from Albania, and Adil Olluri, writer from Kosovo will talk about the book.
The author, the translator and the two speakers will also discuss literary translations and literary exchange in the context of Balkan. How much do we read one another, and can literature go beyond the usual prejudice and animosities of the people of the Balkans. Is anyone actually interested today in translating and exchanging literature amongst the people of Balkans?
Panelists: Filip David (SRB), Visar Zhiti (AL), Smajl Smaka (RKS)
Moderator: Adil Olluri (RKS)
E premte, 16.05.2014
16:00 – 17:30 Përgjimi i Letërsisë 1: promovim libri + debat
Promovimi i librit “Ëndërra për dashurinë dhe vdekjen” të autorit nga Serbia, Filip David, përkthyer në shqip nga Smajl Smaka. Për librin do të flasin poeti nga Shqipëria, Visar Zhiti dhe shkrimtari nga Kosova, Adil Olluri.
Autori, përkthyesi dhe dy panelistët do diskutojnë gjithashtu edhe për përkthimin dhe shkëmbimin e letërsisë në kontekstin ballkanik. Sa e lexojmë njërin-tjetrin dhe a mund të shkoj leximi dhe përkthimi I letërsisë përtej inateve dhe armiqësive balkanike. Kujt i intereson sot realisht përkthimi dhe shkëmbimi i letërsisë mes popujve të Ballkanit?
Panelist: Filip David (SRB), Visar Zhiti (AL), Smajl Smaka (RKS)
Moderator: Adil Olluri (RKS)
EURODRAM general assembly in Prishtina
It is our great pleasure to announce that the next general assembly of Eurodram will be held in Prishtina, from 13th to 19th of May 2014, in frame of the 4th edition of the International Literature Festival polip – Prishtina.
Eurodram is an European network for drama in translation, founded and coordinated by the Maison d’Europe et d’Orient in Paris, a cooperative member of the International theatre institute, and gathering around 300 members all over Europe, Central Asia and Mediterranean countries. Its main objective is to circulate and promote theatre texts, in a multilateral way, to both professionals and a wider audience. This work is also of course a strong opportunity to develop cultural exchanges between our different partners. Representatives from Azerbaijan, Belarus, Bosnia, North-Caucasus, Denmark, England, France, Georgia, Israel, Italia, Kurdistan, Macedonia, Poland, Rumania, Serbia, Slovenia, Spain, Turkey and Ukraine are expected to come. More information about EURODRAM can be found at http://www.sildav.org/eurodram.
“Të zhvendosura përbrenda” – Top Channel Albania – News – Lajme
“Të zhvendosura përbrenda” titullohej interpretimi që u kushtohet grave viktima të dhunës gjatë luftës së fundit në Kosovë, e cila u realizua në kuadër të Festivalit Ndërkombëtar të Letërsisë, POLIP.
The culture trip: polip festival – one of the Top Ten Summer Events In Europe:
Concert of Ah Ahilej
The band Ah Ahilej from Belgrade will perform at the 3rd edition of polip. Here is a link to have a little preview of their performance in May: http://www.youtube.com/watch?v=YwsYkWUambY
Subpoetics: Inner Poetry in Performance
with Dr. Seth Baumrin
The presentation and performance will be on sunday, 12.05.2013 at 15.00 – 16.00
At this year polip festival, among many other things, we will organize a four days of intensive workshops culminating in public performance of newly devised work.
Participants will be actors, dancers, athletes, writers, painters, photographers, and musicians.
Each participant shall devise new performances in workshops that transform physical and vocal training regimens combining inner impulse with action, based on poetic texts in various languages. The workshop culminates in original work that shall be performed at the end of the Festival. This work can be performed in the future by the group.
There shall be no limit on the nationalities of group members, no limit on the languages used, and the group size should be restricted to ten performers and five observers. Each participant must come to every meeting.
The work methodology is based on but not limited to the teachings of Eugenio Barba’s Odin Teatret actors Roberta Carerri, Tage Larsen, Iben Rasmussen, Julia Varley, and Torgeir Wethal, as well as regimens derived from Grotowski’s actor Ryszard Cieślak. The Workshop shall be led by Dr. Seth Baumrin, who received his professional training at Odin Teatret in Denmark, and is now Chairman of the Communication and Theatre Arts Department at John Jay College of the City University of New York.
Each participant shall be equipped with two poems in any language, fully memorized on the first day of the workshop. These poems should be rooted in cultural histories and dear to the heart of the participant.
This work is structured such that in the final stages of development an inner narrative (secret from the audience) moves performance beyond entertaining in the direction of healing through the artist’s work on self and its impact on the spectators. Subpoetics can be understood as social action taken in the interest of those who do the work and those who witness it.
Subpoetics is a process of elaboration whereby actors create physical actions associated with particular texts. These physical actions are shorn away from that text and perfected with precision. They are then attached to a different text even though the actions and the new text are unrelated. The actions are then justified to function as appropriate physical actions for the new text. The process of justification and adaptation of actions to different texts requires reducing, magnifying, or changing the rhythm of the original physical actions. In order to reduce or magnify a physical action, its original impulse in the torso must be located and retained. The extremities of movement, the external movements of the limbs or head, can be augmented by percentages—they use less space, or more, or are executed at different tempos, but the initial impulses to action remain the same. Through elaboration and reduction, participants give entirely new meaning not only to the original score of physical actions, and also, by justifying the actions, new meaning is given to the second text (thus there are inner and outer poetics). Most important they give the text a personal meaning discovered through individual means. Through this process, the participants shall develop subscores that stand behind the actions and have sources in the participants’ impulses and imaginations. Subscore differs from a subtext. A subtext’s sources are buried in the text and its author’s imagination, usually beyond recovery whereas subscore is personal to the performer. Subscore is located within the performer’s body/mind in the linkage of internal image and impulse to external action.
Subpoetics functions in the tradition of Bertolt Brecht’s Lehrstücke (learning play). In Brecht’s usage a learning play is not necessarily limited to the instruction of the audience but of equal importance to the players themselves for whom participation in the work enables realization of ideas, perspectives, and facts previously unknown to them.
Subpoetics embodies a training/performance regimen enabling participants to learn how to learn; learn how to teach; auto-didactic methodologies for self-realization; group dynamics that engender cultural awareness. Weaning young people away from stereotypes promoted by electronic and popular media—virtual reality replaced by truth—by constructing their own identity. This kind of work is crucial during a period of potential cultural erasure as borders both real and artificial obscure the struggles of the individual.
PANEL DISCUSSION | Day 2 of polip 2012 | May 12, 2012
Remembrance and Literature
In this discussion round, we want to investigate the connection between writing and remembrance.
Even though memories are closely knitted to visual impressions, literature mostly uses purely linguistically-communicated imagery when approaching the past. What happens, though, if the linguistic imagery is presented next to pictures and photographs that claim that ‘this is how it was’ regarding events anchored in the collective remembrance? Do these by now ubiquitous pictures risk overlaying the historical events?
What happens if suddenly the pictures begin to tell their own story and the text slowly disappears in one’s perception? Where do we find the reality in this and where do we find fiction? And how is literature distinguished from history? What are its strong points?
We aim to analyze the combination of image and text with regard to their correlation and to discover the additional benefit that emerges from that.
Furthermore, we are interested in the questions of what it means when literature has the purpose of remembrance, how this artistic action changes the perception of the past in the collective memory, and what influence this appropriation of the past has on the authors.
Moderator: Roman Ehrlich (GER)