1. C. Dente, Intersemiotic complexity: the word of drama.
The dramatic text is also literature, not just literature.
The words drama and theatre identify two distinct semantic areas.
Drama → written text. Form of fiction designed for stage representation according to specific dramatic conventions
Theatre → aspects of the performance, transaction between performer and audience.

2. Difficult relationship between reality and dramatic illusion: behind each dramatic text there is a performance, or an idea of performance.
A dramatic text is not encoded once and for all, it is renewable each time it is staged.
The dramatic text can fulfil its communicative function when it is performed: the printed word is no longer virtual dialogue, but becomes real dialogue on stage.

3. Movements and gestures highlight the deep meaning which the dialogue implies.
A scene is engendered by a line, a word or an image.
The word, in its turn, is followed by the image.
Different codes make up a network of different interacting textualities, whose final aim is to construct audience reception.

4. Different textualities account for:
-outcome of the writing process
-outcome of the reading process
-current textual interpretation
-outcome of rehearsal process
-transposition into non-verbal codes
-outcome of reception processes, both diachronically and synchronically.

5. Thus, the interpretation of a dramatic text through its analysis and its staging turns out to be the coordination of an essentially intertextual work.
Result:
Either reproduction of a given performance and interpretation
Or realization of different and very distant productions

6. Dramatic language:
-external axis of communication (production-audience transaction);
-internal axis of communication (fictional context of communication among characters on stage).
Both axis are ruled by the conventions of a given cultural paradigm.

7. Most frequent and evident convention:
as-if convention, i.e. fictional action perceived as if it were real, occurring in the here and now on stage, and the audience were witnesses of this action.
Result:
the dramatic dialogue could be studied using the instruments for the analysis of natural dialogue.

8. In the here and now of the stage, the story unfolds before the audience.
The audience is unaware of what the story is about, and the characters cannot give information they would not exchange in a real context.
Therefore, one has to accept the idea that a dramatic text is an act of transcription, as well as a mimesis of interaction.
The text imitates the complex interactional relation among people, with different types of strategies which help construe the dialogical form.
The author cannot confine and constrict his characters.

9. S. Soncini Intersemiotic complexities: translating the word of drama
Drama writing and drama translation:
Word +
Performance
Words+spatial, corporeal,visual and aural dimensions

10. S. Soncini Intersemiotic complexities: translating the word of drama
Theatre text
Written script (literature)
Performance (theatre)
Translation (2 semiotic systems)
Text & performance
Two types of audience
(readers & spectators)

11. S. Soncini Intersemiotic complexities: translating the word of drama
Key issue:
Awareness of potentialities of text
Translator as interface between ST and team responsible for putting TT on stage

12. S. Soncini Intersemiotic complexities: translating the word of drama
Translation as extension of stagecraft:
Text + added value in text in performance
Dramatic dialogue written to be spoken and performed
Performance in actual space and time, in given context

13. S. Soncini Intersemiotic complexities: translating the word of drama
Deictics:
Space
Time
Context
Sentence takes on full meaning only when acted on stage
Syntax/images/rhythm/prosody → gestic poetry
(ability of words to put into motion actors’ bodies)

14. S. Soncini Intersemiotic complexities: translating the word of drama
Translation: Words to be chosen keeping in mind they have to be spoken, actors breathe when they say them, actors use their body and their voice The body gives the rhythm, the voice gives the tone, and these features are the voice and soul of a translation.

15. S. Soncini Intersemiotic complexities: translating the word of drama
Language body is specific to each language and culture.
Different physicalisation according to the language spoken.
English: monosyllabic quality
consonantal endings
stress-based prosody
Italian can’t apply same rules.