
Identity
I introduce myself. With curriculum, references and academic and professional qualifications (training, awards, titles, certifications).
Services
What I’m capable of. With presentation of the types of service, career portfolio, translation examples.
Catalogue
I have written books, and translated a lot: theatre scripts and articles on cinema, art, literature, entertainment, theatre.
Journalism
Tanatoprassi: il teatro di Dino Buzzati (III)
29 August 2014/by adminLa camera di sangue: Angela Carter e la dissacrazione del patriarcato
6 September 2016/by adminEva contro Eva a teatro con Gillian Anderson
19 November 2020/by Annamaria MartinolliIl linguaggio di Boris Vian
25 March 2017/by adminScoprendo Joe Orton (II)
30 April 2019/by adminDario Fo e Georges Feydeau: La farsa è una cosa da ridere? (I)
18 November 2016/by adminLa ricezione di Edgar Allan Poe in Romania: alcune considerazioni
18 November 2015/by adminDiana Wynne Jones, Hayao Miyazaki e Il castello errante di Howl
19 September 2017/by adminPortfolio
Most recent works
Testimonials
I had the opportunity to appreciate Annamaria’s qualities a few years ago when she worked in our company as a secretary, a role that includes several tasks: she has always stood out for her seriousness and dedication. In more recent times we have collaborated with her as a translator and also in this case she has proved to be very accurate and punctual. Her professionalism and the care she puts into the work she does have emerged.
We often refer to Annamaria for the translation of film subjects and screenplays. Annamaria has always translated our writings with great care and attention, maintaining in the translation the peculiar voice of the original text. Precise and punctual, for us she is a central collaborator!
Ms Annamaria Martinolli has translated several theses published on our Faculty of Humanities website, from Spanish to Italian, from French to Italian and from English to Italian, working with precision and accuracy. Here you can find a list of the theses translated by Ms Annamaria Martinolli.
In addition to being the best editor-in-chief that the magazine has ever had in over twenty years of its existence, Annamaria has translated countless articles that we have also published in Italian, thus making further – and more precious – editorial contributions to the project that Fucine Mute represents, starting from its foundation and on the same statutory basis: the promotion and dissemination of culture, in a broad sense.
Annamaria is our company contact for translations into the active language and revisions of texts in other languages. It’s not easy to manage technical documents like those that circulate within our company, and of which only specialists grasp the meaning. Nevertheless, seeing the quality of works carried out and the results obtained with them, we are now certain that Annamaria knows our profession even better than we do ourselves.
I think Annamaria did a great job because the translation of poetry is not easy.
She manages text with a certain ease and learns quickly (text improves page after page).
On translation
Any translation which intends to perform a transmitting function cannot transmit anything but information – hence, something inessential. This is the hallmark of bad translations.
As far as modern writing is concerned, it is rarely rewarding to translate it, although it might be easy. Translation is very much like copying paintings.
A translator ought to endeavor not only to say what his author has said, but to say it as he has said it.
The difference between the right word and the almost right word is really a large matter – it’s the difference between lightning and a lightning bug.
To use the same words is not a sufficient guarantee of understanding; one must use the same words for the same genus of inward experience; ultimately one must have one’s experiences in common.
Without translation, I would be limited to the borders of my own country. The translator is my most important ally. He introduces me to the world.
In its happiest efforts, translation is but approximation, and its efforts are not often happy. A translation may be good as translation, but it cannot be an adequate reproduction of the original.
“When I use a word”, Humpty Dumpty said, in rather a scornful tone, “it means just what I choose it to mean – neither more nor less”.
A great age of literature is perhaps always a great age of translations.
The best thing on translation was said by Cervantes: translation is the other side of a tapestry.
Georges Feydeau
- La Fedra di Racine e Il tacchino di Feydeau a confronto 27 December 2020
- Feydeau “ridotto all’osso” con intento pedagogico 15 November 2020
- Cento milioni piovuti dal cielo (l’incompiuta di Feydeau completata da altri) 20 September 2020
- I rapporti tra Feydeau e la critica 26 July 2020
- Oh! What a Night, Georges Feydeau a Melbourne con L’albergo del Libero Scambio 13 June 2020
Eugène Labiche
- Discorso in risposta a Labiche dopo la sua accoglienza all’Académie-Française 9 January 2021
- Un passo nel crimine (dichiarazioni di registi e attori) 12 November 2020
- Il viaggio del Signor Perrichon di Labiche: intreccio e personaggi 26 September 2020
- Il più felice dei tre a Londra 29 July 2020
- L’amore dell’arte, Labiche allestito in Italia nel 1909 4 June 2020
Agatha Christie
- Agatha Christie, io ti assolvo 16 January 2021
- Agatha Christie in versione natalizia 16 December 2020
- Assassinio allo specchio adattato per il teatro 29 November 2020
- Sintesi dei racconti di Agatha Christie (IV) 3 November 2020
- Riferimenti ad Agatha Christie nella serie tv La signora in giallo 29 September 2020