Una traduzione dall’inglese al russo di The Witch di William Rowley, Thomas Dekker, John Ford

This thesis examines the challenges and strategies involved in translating the Jacobean play The Witch of Edmonton into Russian, with a particular focus on Acts II, Scene 1, and III, Scene 1. These scenes are especially rich in the language of witchcraft and magic. Written by Thomas Dekker, William Rowley, and John Ford, the play explores themes of social exclusion, gender inequality, and supernatural beliefs, making it a compelling subject for cross-cultural translation (Venuti, 1995). As there is no existing Russian translation of The Witch of Edmonton, this thesis represents an initial attempt rather than a definitive version. Acts II, Scene 1 and III, Scene 1 present significant linguistic challenges, as they contain archaic language, idiomatic expressions, and curse words — some of which may require adaptation or even censorship in a Russian-language context. Act II, Scene 1 features intricate wording and a strong emphasis on witchcraft, necessitating a balance between accuracy and cultural resonance. Meanwhile, Act III, Scene 1 further develops the play’s central themes, particularly the interplay between morality, justice, and societal judgment, adding another layer of complexity to the translation process. These elements highlight the unique difficulties of rendering the play into Russian, underscoring the experimental nature of this translation. The research is grounded in prominent translation theories, including Skopos Theory (Vermeer, 1989), Polysystem Theory (Even-Zohar, 1990), and Descriptive Translation Studies (Toury, 1995). It investigates the linguistic, cultural, and performance-related hurdles involved in bringing Early Modern English drama to a Russian audience. Particular attention is given to archaic language, wordplay, and culturally specific references tied to witchcraft, as well as strategies to ensure the text remains engaging and performable for modern theatre (Bassnett, 1980). A comparative analysis is used to examine Acts II, Scene 1 and III, Scene 1 in both their original English and Russian translation, focusing on how themes of the supernatural, societal issues, and morality are adapted for Russian audiences. The study also looks at how the translated play might be received in Russia, considering its place within the country’s literary and theatrical traditions. This analysis is framed within broader discussions about gender, morality, and social marginalization in today’s Russia. The findings aim to enrich the field of translation studies by showing how language, culture, and performance intersect, providing new insights into how the complexities of Early Modern English drama can be meaningfully adapted for audiences in different cultural contexts.