Abstract

The chapter presents the results of two performance workshops which explore parts of Euripides’ Iphigenia in Aulis in three translations of the play: Thomas Sébillet’s Iphigénie (1549), Lodovico Dolce’s Ifigenia (1551), and Lady Jane Lumley’s The Tragedie of Euripides called Iphigeneia (ca. 1557). The performing process herein designed relies on actors selecting turning points in the texts and matching words with bodily movements. The theatrical exercises proposed in the workshops serve to investigate the power dynamics between the characters and its evolution within the scene, the place and function of the chorus, and the situation - whether intimate or public - envisaged in the dramaturgy of each translation. Through investigating drama translation via performance practice, this chapter aims at widening the very meaning of drama translation, demonstrating that it is necessarily part of, and heavily relies on, a wider dramaturgical process.