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    Sotaro Noguchi. Purchasable with gift card. Vinyl version. Ratas It is also crucial to note that Derrida states that we may not be able to distinguish between these two possible functions and so we are required to, in all cases, examine the spectre as living past and living future. This conceptualisation of the spectre ascribes function rather than meaning to the afterlife: it is characterized as productive and provocative. In Bailando sola , Joyce shows limited awareness of the real time but she is aware of waiting.

    The Woman and the Bloke signal the passage of time in familiar ways by referring to the seasons whilst Joyce continues to participate in everyday rituals and to speak of her plans and ambitions. The dramatic space created by the playwright allows for a dialogue to occur and the protagonist serves a dramatic and spectral function in provoking questions and indicating a wider reality beyond the boundaries of her own life and death. The concept of the spectre as harbinger of a living future is present in the idea of continuity inherent in the play.

    It is central to the existence of the protagonist linking her to both a living past and a living future. The link to the future opens up a space for retelling and recreation through translation which allows a new manifestation of this prolonged afterlife in a new cultural context. It is essential that the translation into English maintains this trajectory in order to encapsulate the integral movement and continuity of this dramatic text.

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    Through translation, the afterlife of the protagonist is perpetuated through the replaying and retelling of her story. It was essential to interrogate and analyse Bailando sola as a Uruguayan play. It is for this reason that the process detailed in this article is crucial to understanding how specific links can be created between two cultures to recognise differences as well as proximity between two cultures.

    This dramaturgical analysis ensures that the text moves across in a way that can be performed in the United Kingdom and allows for the creation of a new dramatic text. The afterlife depicted in the new translated text then reverberates with questions which speak specifically into this new context whilst creating a sense of a wider discussion: a dialogue which transcends perceived boundaries. Through the performance of the play in the target culture new audiences participate in this dialogue. In translation for the audience in the United Kingdom, the depiction of the aftermath of domestic violence would evidently interact with this issue in the United Kingdom.

    These discourses represent ongoing issues that remain unresolved. These links established with current discourses in the United Kingdom allow the play to enter into a discussion of issues and topics, beyond those immediately presented in the play, which are significant now. Points of contact between Uruguay and the United Kingdom allow for this discussion and interaction to begin in the United Kingdom through a play that was written in Uruguay.

    This reading provided an opportunity for the words to be tested in different voices and the robustness of the dramatic text created for the target context to be examined through the rehearsal processes, the performance of the reading and the discussions after the reading. On occasions this centered on the robustness of a particular line or an image conjured up by a word in the moment of the exchange, such as the use of the word cadaver in the example cited above which I discussed with some audience members after the reading because it had stood out for them.

    Another example is when the Bloke appears in Scene five:. Holy night. All is calm. All is bright. During the rehearsal process we discussed why the Bloke begins singing at this point. We talked about how he sings in order to make the Woman quiet and demonstrate that he does not intend to leave them in peace. By singing, he silences the Woman and hints at his manipulative character, which is signaled later when the Woman states that he is deceiving Joyce by dancing with her. Furthermore, in scene seven he taunts Joyce with possible outcomes to her situation and life had she not suffered the brain hemorrhage when alone at home, which exemplifies a cruel side to his character.

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    The song that he sings is a Spanish version of Silent Night and, after experimenting with some other constructions and Christmas songs to create a repetition, I decided that this was the best option and that the repetition would be lost in translation. In this way, the actor emphasized the line, silenced the Woman and hinted at the manipulative nature of the Bloke through the combination of word and gesture.

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    Through exploring the dramatic function of the line with the actors in the rehearsal room, the Bloke was able to play creatively with the song in order to make the reply equally effective for the performance in translation. Following the performance, there was a space for informal discussion and this centered on the resonances of the different types of disappearance: from society, from a violent ex-partner, from the social system.

    In some cases, this paved a way for discussions about disappearances during the military dictatorship in Uruguay and other places in Latin America. They were interested in the way a playwright from another country could shed a different perspective on it, including moments of humor, whilst drawing to their attention how aspects of how this problem might be lived and experienced in Uruguay. The play allowed for a broader awareness of how the aftermath of domestic violence and the reality of isolation might be experienced in a different country.

    Through the creation of the play in Uruguay and the translation into English a dialogue was opened between these two countries which allowed voices from elsewhere to contribute to a relevant discussion about isolation of women, violence against women and the failures of a social system. In this way the translated play maintains an essential movement between familiar and remote, as the audience are able to gain an insight into a close and distant cultural context.

    A link between the severity of the issue of domestic violence in Uruguay and the welfare of vulnerable people in the United Kingdom is created but this proximity is achieved without effacing all aspects of cultural difference. What makes the translation so relevant and impactful is that it opens up a space for the voices in Bailando sola , which may seem to emerge from such a distant and different context, to speak in the context of the United Kingdom.

    The constant interplay between the recognisable and unfamiliar enables and obliges the audience to relate to the protagonist whilst forcing them to engage with the wider questions provoked by the play. The sense of recurrence in the play is an important dramatic device in opening up a dialogue that transcends perceived boundaries of life and death, but also geographic and cultural context. In this way the translated text allows the audience to enter into a dialogue with the protagonist and creates a dramatic space in which we can dialogue with the dead.

    Joyce refers explicitly to the TV at several moments in the play and there are stage directions that indicate that the characters are watching something. The flickering of the TV screen indicates movement from one scene to the next. Scene 1 is a monologue from the protagonist, Joyce. She is alone and recalls a pain to her head like none she has ever felt before. She tries to describe the pain using the semantic field of the domestic, which includes a reference to the domestic violence that she suffered from her husband. Joyce tries to remember what she was doing before the pain started and sings Knock Three Times by Tony Orlando and Dawn whilst trying to distract herself so that the memories come back.

    Joyce works backwards from recent memory to recall and describe familiar rituals of preparation: she remembers the frustration of wrapping and curling the bows on the Christmas presents, she describes bathing and applying her make-up. There is a sense of anticipation and of preparing to leave, which remains constant throughout the play, but at this moment Joyce cannot remember where she was going: the last she can remember is closing the door and leaving the key in the lock, something which she used to criticize her ex-husband for doing. The Woman talks to Joyce about waiting, memory and decomposition, all of which serve to reinforce the idea of the passage of time.

    Scene 3 is a monologue during which Joyce reveals the extent of the violence from her ex-husband and the feelings of shame she experienced. She describes her fear when the phone rings and she does not answer it in case her husband has tracked her down. She verbalizes a series of tags to attach to Christmas presents addressed to her family and social workers through which the audience gains an insight into the challenges of estrangement and her efforts to reconnect by performing familiar Christmas rituals.

    In scene 4, the Woman states that they are waiting to leave but she does not say where they will go and instead criticizes Joyce for her fear of solitude. They discuss an internet post about Joyce, which is a reference to Carol Morely who made a documentary film, Dreams of a Life , and who was conducting research at the time where Raquel Diana wrote the play. They are interrupted by drilling from upstairs. Joyce blames her upstairs neighbour for the noise and explains how she often hits the broom handle against the ceiling to get him to quieten down, even though she has never met him.

    The Bloke appears and says that he responded to her knocking. The Woman seems to know him and asks him to leave. Joyce is confused about the passage of time and asks if it is still Christmas, which would allow her to deliver the presents to her sister and niece and nephew. She states that she bought a gift for her ex-husband but decided not to give it to him because she feared that he would find out where she lived. She labels the presents for her parents and remembers that she was going to take them to the cemetery. In scene 6 Joyce and the Bloke watch TV and she explains a fantasy about the man in the flat upstairs in which she knocked so hard on the ceiling that it gave way and he fell through.

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    She dances with the Bloke and he sings Knock Three Times. There is loud knocking at the door and the Woman tells Joyce to find a photo and that Joyce cannot open the door because she is dead.