Paper short abstract:

This study explores the various ways and ploys employed in translations and adaptations. The study uses adaptation theory to expand the focus of the art of translation and/or adaptation while denoting the relationship or otherwise of the politics of translation conveyed in text and performance.

Paper long abstract:

This study explores the various ways and ploys employed in translations and adaptations in text and performance. Long before extant ancient Greek plays were written, they existed as performances. These performances were created from existing myths in their societies. The plays addressed societal ills and issues while keeping its audience entertained. In recent times, these plays have become a cradle and inspiration for playwrights. Among the extant ancient Greek plays, Sophocles’ Antigone remains the most performed, translated, rewritten and adapted. Perhaps, it is the underlying ancient myth and the ambiguities of the play that has been a major influence to playwrights and has as well led to the variations in its interpretation—at different times and in different places and contexts, Antigone connects with people differently. In spite of its adaptability, it is Antigone’s tragic persona—her defiance for tyranny, her rebelliousness and her claim to advance human freedom—that has been pivotal in enabling its continuous appropriation as text and in performance. The probable fundamental impetus for its prolific interaction with the present is the urgency of contemporary political situations. Femi Osofisan in his translation / adaptation titled Tègònni, reiterates his quest to address issues regarding race and personal courage and nonetheless, bemoans the complexities of political freedom in a colonial era. However, in its performance, and with a different cultural setting, the probability that a different political and cultural ideology or stance would be conveyed is key.