Perfection doesn’t exist, but putting your heart into your work may help.
Graduated with honours in Translation of Literary and Technical Texts at the Advanced School of Modern Languages for Interpreters and Translators (SSLMIT of Trieste). I have gained ten years of experience in the translation of non-fiction, journalistic, literary, theatrical, commercial and tourist texts. I offer translation services from English/French/Spanish into Italian and vice versa.
I have translated...
I have translated numerous texts for Tesionline, an Italian website specialising in the publication of dissertations, and I actively collaborate with the publishing house Editoria&Spettacolo in the translation of theatrical texts and essays by authors such as Georges Feydeau, Eugène Labiche, Noël Coward and Jerome K. Jerome.
I also collaborate...
I also collaborate, as author, translator and editor-in-chief, with the online newspaper Fucine Mute and I manage three blogs dedicated to Georges Feydeau, Eugène Labiche and the literary and theatrical references in Agatha Christie’s works.
My long experience...
My long experience has taught me to be accurate, correct in every detail and to acquire excellent research skills in archives and through the Internet; I have also learned to evaluate the reliability (or not) of information regarding individual authors or theatre texts. This also makes me very reliable in finding scripts from authors of the past and identifying reference texts for studies and analysis.
L’uomo di paglia by Georges Feydeau (Teatro Due di Parma, season 2015/2016).
Agli antipodi by Georges Feydeau (Teatro Due di Parma, season 2015/2016).
Patta all’aria by Georges Feydeau (Teatro Due di Parma, season 2015/2016).
Un signore che non ama i monologhi by Georges Feydeau (Teatro Due di Parma, season 2015/2016).
Un cappello di paglia di Firenze by Eugène Labiche (Accademia Silvio d’Amico, January 2018).
Se ti becco son dolori! by Eugène Labiche (Accademia Silvio d’Amico, January 2018).
L’affare della Rue de Lourcine by Eugène Labiche (Accademia Silvio d’Amico, January 2018).
Selezione naturale (Boom Boom Boom) by Xavi Morató (La macchina del suono, Teatro Manzoni Calenzano, October 2022/Teatro Tor Bella Monaca, December 2022).
In the case of a foreign text the first critical operation is the translation. I would even say that the ‘critical work’ of the director is strictly linked with the problem of translation. The two things are or should be part of one and the same deep unity.
Pages translated from French
Pages translated from English
Pages translated from Spanish
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.