Intorno alle Baruffe chiozzotte traslocate a Dubrovnik

la tradattatrice a chi legge

Sažetak

The localized translation of Carlo Goldoni’s Baruffe chiozzotte into the idiom of Dubrovnik, carried out by Morana Čale specifically for the performance directed by Krešimir Dolenčić as part of the 2025 Dubrovnik Summer Festival theater season, occupies the central part of the contribution and is accompanied by an introductory presentation and a technical- grammatical explanation included at the end, both of which are signed by the translator/adaptor. The prefatory text aims to situate the translation-adaptation - designated by the neologism tradattamento, modelled on the English word “tradaptation” - in the context of Dubrovnik’s centuries-old theatrical tradition, which is both original and rich in adaptations, ranging from the comedies of Marin Držić (in Italian, Marino Darsa), which inaugurated the comedic genre in the sixteenth century, to the French-inspired works that flourished in the eighteenth century, up to the most relevant examples of Ragusan and Croatian adaptations, especially Goldonian, from the last hundred years. After a reasoned review of the linguistic models available in the dramaturgical history of Dubrovnik that could serve as the most suitable for the new Ragusanization of Goldoni’s famous comedy, the argument is made in favour of the translator’s adoption of the sixteenth-century language found in Držić’s comedies as the best choice for at least two reasons. Firstly, the Darsian language guarantees, for various reasons, a satisfactory degree of communicability between the performance and the contemporary audience, whether Ragusan or more generally Croatian, in line with Goldoni’s ideas on the necessity of adapting the text to the culture and taste of the audience. Furthermore, considering the documented sense of discomfort expressed by the Ragusan people in recent decades regarding the progressive loss of the Ragusan dialect, the more dated literary and theatrical model, while also being less overloaded with foreign terms compared to later cultural and lexical overlays, seems, according to the opinion of the translator, to favour the collective need for recovery - more symbolic than likely - of a common linguistic background. The concluding section provides information about the Ragusan setting, regarding anthroponyms, toponyms, folkloric and cultural elements, vocabulary, and idiomatic expressions. It highlights the reuse of citation elements drawn from the dramatic works of the Ragusan tradition, particularly from the comedies of Marin Držić. Finally, the main differences are noted between the text of the adaptation, characterized by a seemingly archaizing position, and the modifications, mostly morphosyntactic, made by Dolenčić’s ensemble to the Ragusanized text by Morana Čale.