Who’s afraid of Caryl Churchill’s Top Girls?: Marietta Rialde and ‘feminist’ theatre in translation in 1980s Greece

• Misiou, Vasiliki ^[1]
  1. [1] Aristotle University of Thessaloniki

     Aristotle University of Thessaloniki

     Dimos Thessaloniki, Grecia

     
• Localización: MonTI: Monografías de traducción e interpretación, ISSN 1889-4178, ISSN-e 1989-9335, Nº. 17, 2025 (Ejemplar dedicado a: Theatre translation. Performability and reception from intercultural perspectives / coord. por Catalina Iliescu Gheorghiu , Susan Bassnett), págs. 231-258
• Idioma: inglés
• DOI: 10.6035/MonTI.2025.17.08
• Enlaces
  • Texto completo
• Resumen
  • español

    Marietta Rialde, la “enfant terrible” del mundo del teatro griego (Steen 2015: 42), fue una directora de escena, actriz, dramaturga y traductora feminista. Rialde, una de las pocas mujeres en el panorama teatral griego dominado por los hombres de las décadas de 1960 y 1980, dirigió su propio Teatro Experimental, actuó ella misma, tradujo y escribió obras que abordan cuestiones de género y de mujeres. Cuando decidió dirigir y montar Top Girls (1983) de Caryl Churchill, en una traducción de Marlena Georgiadi, apareció en los titulares provocando un acalorado debate. El estudio muestra que tanto Rialde como Georgiadi vieron la traducción teatral como una praxis social, política y activista. En una primera exploración de los elementos paratextuales y de la recepción crítica de esta traducción y puesta en escena griega de Top Girls, este artículo tiene como objetivo discutir la contribución de la traducción teatral en Grecia para poner el feminismo en la agenda pública y generar conciencia en la búsqueda de la equidad en un panorama social cambiante.

  • English

    Marietta Rialde, the “enfant terrible” of the Greek theatre world (Steen 2015: 42), was a feminist stage director, leading actress, playwright, and translator. One of the few women in the male-dominated Greek theatre of the 1960s–1980s, Rialde ran her own Experimental Theatre, acted, translated and wrote plays which address women’s and gender issues. When in 1984 she decided to direct and stage Caryl Churchill’s Top Girls (1983), in a translation by Marlena Georgiadi, she hit the headlines sparking heated debate. This essay shows that both Rialde and Georgiadi saw theatre translation as a social, political and activist praxis. Drawing on paratextual materials and the critical reception of this first Greek translation and staging of Top Girls, this article aims to discuss the contribution of theatre translation in Greece to placing feminism on the agenda and raising awareness in the pursuit of equity for women in a changing social landscape.

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