Intellectual mobility: New Plays Travel around Europe... Playwrights Still Don't !
Modern communication technologies have revolutionized the way play-texts travel. Plays by Sarah Kane, Roland Schimmelpfennig, Biljana Srbljanovic or Jon Fosse are being produced all over the world. Is this a sign of cultural diversity or of cultural harmonisation?
If images and audio material can be consumed as they are, texts still need to be translated. But can anything be translated? Who is best placed to bring to life what is necessarily a cultural as well as a linguistic transfer? How can we try and make sure that the play you get is the play that was written orginally?
Translation piracy, breach of copyright, free adaptations, ... How can we balance the feedom of the translator, the director, the actor and the rights of the author? How far can we go? Who can protect the playwright's intentions? Should they be protected anyway?
What does this say about the playwright's own personal development? Productions and plays travel but playwrights rarely do? How important is it to European cultural integration that playwrights from all over can meet, discuss, exist beyond their national borders or their translated texts? What are the possibility offered to playwrights in terms of mobility?