On Thursday evening at the annual meeting of the SCS, together with about 150 others, I witnessed, experienced, and participated in something beautiful. With the enthusiastic support of the SCS, Classics and Social Justice, and the organization I work for, the Onassis Foundation USA, playwright and activist Luis Alfaro shared with a captivated audience his heart, his brilliance, and his creativity, a shining example of the good that can be done with and to Classics, and the reach our discipline can have to new, perhaps unexpected audiences. I resist here the urge to discuss some of the painful ugliness we saw at our meeting, leaving only a hint of it in the title I originally thought of for this piece, because I do not want to take away from the light Luis brought to us.
In our third ‘Letters from CAMP’ blogpost, Prof. Emily Jusino discusses the trials and tribulations of picking a translation of an ancient drama for live performance.
“People expect Greek tragedy to sound a little stilted and awkward.” This is a paraphrase of a comment made to me recently by a director planning on staging the Medea. It was his defense of the translation he had chosen when I said that I disliked his choice. What made this translation appeal to him was precisely what made it seem terrible to me: the stiltedness and awkward English that comes across both as “translation-ese” and as a refusal to update any references in the text for a modern audience. But, of course, he could get the rights to use this translation for free.