Translating for the stage involves a multiple range of negotiations. Based on Carlson’s (2001) notion of the «haunted stage» and Budick’s (1996) conception of translation as inhabiting the «in-between», this paper addresses the question of location in the dramaturgical translation of Marina Carr’s (1998) By the Bog of Cats... into Brazilian Portuguese under the title Era uma vez, no Pântano dos Gatos... The original play is set in the Irish Midlands, and its language sets a tone of bleakness and desolation, enlivened by crucial notes of humour. The challenge of translating this play into Brazilian Portuguese revolves around the dialogical movement between two different landscapes in which hidden similarities remain to be unlocked. That is to say that, when re-creating Ireland in Brazil, Brazil itself is also re-created in multiple versions on the theatrical stage. Therefore, this paper exposes the way a translated play travels from the Irish Midlands to diaphanous «wheres» in Brazil, and reveals competing notions of familiarity and strangeness.
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机译：阶段翻译涉及多种谈判。基于卡尔森（2001）的“闹鬼的舞台”概念和巴迪克（1996）的翻译概念居住在“中间”的概念，本文讨论了玛丽娜·卡尔（Marina Carr）（1998）的戏剧化翻译中的位置问题。 Cats ...以Era uma vez的名字译成巴西葡萄牙语，没有Pântanodos Gatos ...最初的剧本是在爱尔兰中部地区设定的，其语言设定了凄凉和荒凉的氛围，充满了幽默感。将这部作品翻译成巴西葡萄牙语的挑战在于围绕两个不同景观之间的对话运动，其中隐藏的相似性仍有待释放。也就是说，当在巴西重新创建爱尔兰时，巴西本身也在舞台上也以多种形式重新创建。因此，本文揭示了翻译剧本从爱尔兰中部地区到巴西透彻的“地点”的旅行方式，并揭示了熟悉和陌生的竞争观念。
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