Veronica Orazi

Gracia Morales, Cattivo odore, Introduzione e traduzione a cura di Enrico Di Pastena

Introduction

Gracia morales, cattivo odore, introduzione e traduzione a cura di enrico di pastena. Analisi dettagliata e recensione della traduzione italiana della pièce teatrale 'Cattivo odore' di Gracia Morales. Esplora temi, personaggi e drammaturgia dell'autrice andalusa.

Abstract

Reseña de la traducción italiana de la pieza teatral Cattivo odore (2019) de la dramaturga andaluza Gracia Morales. Análisis de los rasgos del texto, del  que se enfocan el tema, el mensaje, el tratamiento del eje espacio-temporal, de la costrucción de los personaje y otras características típicas de la dramaturgia de la autora.

Review

This article presents a focused review of Enrico Di Pastena’s Italian translation and introduction of Gracia Morales’s 2019 play, *Cattivo odore*. The work positions itself as a critical assessment of the translated text, thereby contributing to the reception of contemporary Andalusian dramaturgy within Italian scholarship. By centering on Di Pastena’s rendition, the abstract indicates an intention to not only introduce the play to a new linguistic audience but also to critically engage with the interpretive lens provided by the translator. The strength of the proposed analysis lies in its commitment to a detailed textual exploration of Morales's original work. The abstract clearly outlines an ambitious scope, promising to delve into the play’s thematic underpinnings, its core message, the intricate handling of space and time, the construction of its characters, and other distinctive features typical of the author's dramatic style. This in-depth focus on the intrinsic qualities of *Cattivo odore* promises to offer valuable insights into Morales’s artistic vision and her contribution to contemporary theatre, enriching the understanding of her work beyond its immediate linguistic context. While the comprehensive analysis of the play's inherent features is highly commendable, a robust review of a translation ideally balances textual analysis with a critical assessment of the translation itself. The abstract emphasizes the analysis of the *original text's traits* through the translated medium, suggesting a potential opportunity for the article to explicitly engage with Di Pastena’s translational choices and their effectiveness in rendering these specific characteristics. Nevertheless, the article’s rigorous engagement with the dramatic text ensures its contribution to theatre studies, particularly in advancing the critical understanding and appreciation of Gracia Morales’s work.

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