Acceso usuarios
John London 
A lthough the translation of dramatic texts has received considerable scholarly attention in the last twenty years, a great deal of this energy has been devoted to theoretical or practical issues concerned with staging. The specific linguistic features of performed translations and their subsequent reception in the theatrical culture of their host nations have not been studied so prominently. Symptomatic of this is the sparse treatment given to linguistic translation in general analyses of theatrical reception (Bennett, 1997: 191-196). Part of the reluctance to examine the fate of transformed verbal language in the theatre can be attributed to the kinds of non-text-based performance which evolved in the 1960s and theoretical discourses which, especially in France, sought to dislodge the assumed dominance of the playtext. According to this reasoning, critics thus paid �less attention to the playwrights� words or creations of �character� and more to the concept of �total theatre�.
