A translation can cause misconceptions, contort tone, and misinterpret cultural references, while a translation can also bring a positive impression to foreign readers not only of the text, but also of the country, people, and culture of origin. The quality of translation affects the closeness and tightness of those connections. Translation is the bridge connecting languages, cultures, and people around the world throughout history, from past to present, in time and space.
Finally, it aims to show some results of this work which may contribute to the study of the problem of translating and publishing Shakespeare in a foreign language It also analyses whether to translate Shakespeare’s works is definitely to rewrite them. The paper questions whether it is possible to translate Shakespeare at all, and if so, in what way and up to what degree. The Tempest (2010), translated into Spanish, from the 1623 Folio text, takes all the aforementioned academic editorial procedures into account moreover, it takes some distance from the traditional translation and printing approaches in Spanish: recreation in prose or translation into a metrical structure equivalent to blank verse, thus providing evidence that in spite of the language barrier, there are means and methods that may recover Shakespeare in Spanish more faithfully. The others –Astrana-Marín, Aguilar, and Angel-Luis Pujante’s translations– lack most of these elements. In the case of the Spanish translations of Shakespeare’s Complete Works that are read in Chile, each of them adopts different editorial procedures: Instituto Shakespeare (Cátedra) offers a bilingual edition that incorporates line numbers, notes, and abundant critical material, including bibliography and further readings. Most of the Spanish editions of Shakespeare, as well as the Latin American, do not follow the academic standards for Shakespeare’s publications currently used in the Anglo-Saxon world that is to say, they do not include the number of lines, indication of acts and scenes in the page’s layout, philological and historical notes, and a critical introduction.
Taking The Tempest, translated into Spanish by two Chilean scholars in 2010, in this article I will argue that a successful translation of Shakespeare for the stage-a text that goes from the inter-lingual rewriting of the text to a cultural re-interpretation that speaks to a diversity of contemporary identities and audiences − should endeavour to be cultural, spatial, and collaborative that is to say, that the translator should have a deep understanding of Elizabethan cultural elements that can be included in the translated text by means of paratexts − precise, relevant, and explanatory linguistic and historical notes that may shed light on directorial decisions once the play is performed, as well as consider the space where the play will be staged, and develop a collaborative system of work with translators, directors, and actors during the whole process.
In addition, due to the fact that Shakespearean texts are scripts to be performed, translators need to consider theatrical elements inherent in the dramatic text that go beyond the textual apparatus, and that may complicate their work. Translating a Shakespearean play into Spanish-whether that spoken in Spain or in Latin America-constitutes a complex process, as most translators reckon that the semantic transfer is especially challenging, not only because of the syntactic and linguistic diff erences between the source and the target language, but also because the English text belongs to a context that is geographically and culturally distant, especially in the case of Chile.
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