Staging the Translation of Opera as a Medium of (Sub)version: Portuguese Appropriation of Italian Melodrama in the 18th century

S aging he T ansla ion o Ope a as a Medium o (Sub) e sion: Po uguese App op ia ion o I alian Melod ama in he 18 h cen u y Daniela Di Pasquale Cen o de Es udos Compa a is as Uni e si y o Lisbon Abs ac In he 18 h cen u y a la ge numbe o Po uguese s ages used ansla ions o I alian ope a as a possibili y o e ine he c i ical abili ies o hei audience. In ac , in he public hea es o Lisbon, all kinds o c ea i e mis ep esen a ions h ough he adap a ion o I alian lib e i we e possible h ough he in oduc ion o olk and common cha ac e s like he g aciosos, se an s o o he plebeian membe s o he socie y. The pa icula con ex in which his cha ac e is c ea ed wi hin Po ugal, no in an au och honous d ama ic li e a u e, bu wi hin a e y codi ied gen e al eady amous ac oss Eu ope, allow us o in e p e he g acioso’s unc ion as a des abiliza ion o he alues and hie a chy o he socie y. Key wo ds: mis ep esen a ion, manipula ion, app op ia ion, des abiliza ion, in e ex uali y, adi ion. Me as asio’s ope as in Po ugal (18 h cen u y) The ci cula ion o melod ama was a es ed in Po ugal a he beginning o he 18 h cen u y by he la ge impo a ion o Pie o Me as asio’s I alian ope as. Today, he Na ional Lib a y o Po ugal, he Calous e Gulbenkian Founda ion in Lisbon, he Ajuda Lib a y, he Uni e si y o Coimb a Gene al A chi es and he Academy o Science Lib a y hold a co pus o mo e han 80 ex s edi ed be ween 1732 and 1832. They a e di ided in o lib e os in he o iginal language and ansla ion/adap a ions p in ed and handw i en ao gos o po uguês (acco ding o Po uguese as es), as we can ead in he i le-page o hese adap a ions (DI PASQUALE 2007: 64-82). We also know h ough o he indi ec sou ces ha be ween 1728 e 1808 almos 300 I alian ope as (o iginal o ansla ed) we e s aged in Po uguese hea es such as he Paço da Ribei a Thea e, he Academia da T indade Thea e, he Ho as do Conde Thea e, he New Rua dos Condes Thea e, he Cou Thea e, he Sal a e a Royal Thea e, he S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  Ajuda Royal Thea e, he House o India, he Bai o Al o Thea e, he Queluz Thea e, he Royal Câma a, he Sali e Thea e, he Tejo Ope a and he São Ca los Na ional Thea e (DI PASQUALE 2007: 411-423). Mos o hese ansla ions and adap a ions do no gi e us any in o ma ion abou he ansla o , and some imes no e en abou he o iginal au ho o he ex . The adap a ion p ocess essen ially lies in inse ing a seconda y s o y in o he o iginal plo , played by cha ac e s a bi a ily added by he adap o s. As o he ex e nal ea u es, hese kinds o new cha ac e s come om he g acioso ypology o he Spanish Golden Age hea e and om he pa o cha ac e i in Gil Vicen e’s hea e, bu hey clea ly p esen some ele an au och honous aspec s. The g aciosos in he Po uguese adap a ion o Me as asian melod ama a e gene ally h ee se an s epea ing a e nacula olk le el he sen imen al dynamics de eloped a a highe le el by he o iginal p o agonis s o he melod ama ha is ansla ed. By changing he gen e o Me as asio’s ope a se ia om melod ama o comedy, o en enaming i “Ope a No a” (New Ope a), by mixing sung pa s and dialogues wi hou music, hese adap a ions could ake place only in public hea es, while he pompous and majes ic Me as asian o iginal se ed he absolu e powe o kings John V and Joseph I a he oyal cou , wo king as an ins umen o os en a ion and a means o hei poli ical pu poses. Thanks o his kind o ansla ion, we a e able o make up o he lack o pe i ex ual and epi ex ual documen s, since we can econs uc he e ec i e s aging o his non-con empo a y hea e, a leas a he le el o i s po en ial mise-en-scène. Since we do no know i hey we e ansc ip ions o hea ical ex s, i.e., ex s eally s aged, spoken and lis ened o du ing a pe o mance, because he e e ences abou hei e ec i e s aging a e missing on hei i le-pages, we can only assume ha by a physical analysis o hese objec s. In ac , he ypog aphical and edi o ial s uc u es (and ca elessness) allow us o include his ypology in he co del (chapbook) hea e gen e, which we e pamphle s bound oge he wi h a co d o s ing, sold by blind people a s ee co ne s, designed o be a sc ip o s aging by mo e o less p o essional hea e companies. I is easy o compa e a ex designed o be ead wi h a ex in ended o use as a sc ip ( ig. 1). DOLETIANA 3OPERA AND TRANSLATION2 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y                        Fig. 1 An example o a ansla ion designed o be ead (le ) and an example o a ansla ion in ended o use as a sc ip ( igh ) The jou ney unde aken by he adap a ions, he e o e, may be ep esen ed by he ollowing scheme:  SOURCE TEXT → TRANSLATION + ADAPTATION → TARGET TEXT → POTENTIAL PERFORMANCE → REAL PERFORMANCE   The sou ce ex is subjec ed o al e a ion due o he ac ha he adap a ion changes he me e ansla ion, hus p oducing a a ge ex ha in o ms us abou he possibili ies o he pe o mance. This po en ial pe o mance is he e o e a pa ial objec , incomple e, ha will se e as a guide when ehea sing he eal pe o mance. This means ha in he case o he adap ed hea e, and h ough ansla ion analysis, i is possible o econs uc he genesis o i s po en ial pe o mance when pe i- and epi ex ual documen s a e absen . To his end, we ha e o conside ha he adap a ions o he Me as asian ope as in ol e a plu ali y o ac o s, cons ain s and sou ces ha e eal he mul imodal na u e o he ansla ed DOLETIANA 3OPERA AND TRANSLATION3 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  melod ama. Mul imodal no only in he sense o he in e a is ic na u e o he ope a ic e en which means he simul aneous p esence o mul iple o mal le els (poe ic, musical, hea ical), and no jus he plu ali y o he pe cep ion le els associa ed wi h ope a ( isual, audi i e, acous ic), bu also as he plu ali y o ac o s in ol ed in he genesis o he ope a ic ex in he Po uguese con ex o he 18 h cen u y. In o he wo ds, he ac ha hese Po uguese adap a ions ha e ecou se o a mul iplici y o di e en sou ces and me hods can help us o econs uc no only he possible condi ions o pe o mance, bu also he ole o he melod ama u gy in Po ugal bo h wi hin he li e a y sys em and a socio-cul u al le el. This means ha s udying he genesis o he ope a ic ansla ion may play an impo an ole in he de ini ion o he alue judgemen s ha endo se he canoniza ion o non-canoniza ion o ex s in melod ama ic li e a u e. This is pa icula ly e iden in he case o 18 h cen u y melod ama u gy in Po ugal, in which he adap a ions o he o eign hea e o Po uguese as es we e always subjec ed o a nega i e e alua ion as hey we e conside ed idiculous and ma ginal. As an example, we quo e he opinion o Manuel de Figuei edo (1725-1801), a Po uguese d ama is , abou he phenomenon pe aining o he Po uguese ansla ion o o eign hea e: The Thea e ha is a model o he language e e ywhe e will become he School o Ba ba ism while he e a e no Na ional D ama is s. Wha is a e han a T ansla o ? Who ca es i a good e sion appea s e e y now and hen, i e e y day we lis en o e sions ha mos emba ass he Na ion and he un o una e Au ho s? We see he Po uguese sen ence mo e adul e a ed in he Playw igh s’ comedies han in he mou hs o Fo eigne s who a i ed in Lisbon only a ew mon hs be o e. Due o he idio ism o he ansla ion, wha spec a o ails o immedia ely ecognize he o iginal language o he Poem? And because o he S o y’s dis o ion, who ails o see he opposi e e ec s caused by he passions, and e en he change in he Ti les: i he T ansla o had unde s ood he G amma , he was he o ically and poe ically igno an o wha he was ansla ing?ii (FIGUEIREDO 1804: 7-8) [my ansla ion]. Wha was always c i icized in hese adap a ions was he mix u e be ween he agic and he comic p oduced by he cha ac e s o he g aciosos, as well as he adul e a ion o he he oic my hology ha led o a mo e ealis ic in e p e a ion o he cha ac e s. This is he eason why a heo e ician and a d ama is such as Co eia Ga ção ga e B az, a cha ac e in he play Tea o No o (1766), he ask o c i icizing he mixed gen e o he Po uguese adap a ions: B az T agédia é cousa que ninguém a u a, Quem ao ea o em, em di e i -se Que i e não cho a . Lá ai o empo DOLETIANA 3OPERA AND TRANSLATION4 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  De lág imas comp a às ca pidei as. Não al am boas ópe as, comédias Em ancês, i aliano, em ou as línguas, Que pode aduzi qualque pessoa, Com en edo mais cómico. Que o po o Só se ag ada de lances sob e lances. Quem is o não ize jamais espe e Que o po o diga b a o e dê palmadas. (GARÇÃO 1982: 28) [T agedy is some hing ha no one abides, He who comes o he hea e, comes o enjoy himsel He wan s o laugh, no c y; he ime has passed Fo buying he ea s o p o essional mou ne s, The e’s no lack o good ope as, comedies In F ench, I alian and o he languages, Which anybody can ansla e, Wi h a mos amusing plo ; ha only please he common olk who like cons an comic elie . I you don’ do his, you will ne e hope To hea he c owd shou b a o and applaud you.] [my ansla ion] This e alua ion has con inued in o he p esen i we ead, o example, he wo ds o Luciana S egagno Picchio on he his o y o he Po uguese hea e: “g aciosos ac o enhance he ex s so as o ende hem mo e accep able o an audience ha is mo e disposed o a ce han o agedy, o a lee ing wink han o he o a o ical declama ion”iii (STEGAGNO PICCHIO 1964: 143). By s udying he genesis o he ope a ic ansla ions we may make a ee alua ion o hese opinions abou he adap a ions ha a e gea ed o Po uguese as es, mos o all because he g aciosos play a so o e o ming unc ion. Change o pe spec i e Thanks o gene ic analysis we can ind aces o he complexi y o he g acioso’s cha ac e ha will allow o a eassessmen o he impo ance o hese elemen s in he hea ical con ex and he possibili y o “de-pe iphe alizing” he Po uguese ope a ic adap a ions wi hin he cul u al sys em o ha pe iod. This possibili y is a o ded by he ac o ansla ion, hanks o i s ex e nal na u e as ega ds he cen al sys em. We a e e e ing he e o I ama E en-Zoha ’s e lec ions on he possibili y o ansla ion as an ins umen o inno a ion in a cul u al and li e a y sys em’s epe oi e: DOLETIANA 3OPERA AND TRANSLATION5 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  When new li e a y models a e eme ging, ansla ion is likely o become one o he means o elabo a ing he new epe oi e. Th ough he o eign wo ks, ea u es […] a e in oduced in o he home li e a u e which did no exis he e be o e (E en-Zoha 1990: 47). I is ne e heless ue ha he Po uguese adap a ions show g ea e complexi y han o he li e a y ansla ions, since we ind hey ha e a h ee old le el o w i ing and a ipola iza ion ha eplaces he bipola i y o non- ansla ed hea e ( ex →pe o mance). In his case we ha e TEXT TRANSLATION / ADAPTATION PERFORMANCE ↓ ↓ ↓ DRAMATIST TRANSLATOR/ADAPTOR STAGE DIRECTOR   This means ha i is no enough o analyze such objec s h ough he ST-TT (Sou ce Tex -Ta ge Tex ) ansla ion me hod, sea ching o he ansla ion echniques used, ha is, compensa ion, pe mu a ion, inno a ion and con ex ual eseman iza ion. We need o combine his me hod wi h an analysis o he o ma i e p ocesses o he adap a ion, ela ing o he independen elemen s added, in his case, he hi d le el o he Po uguese melod ama u gical w i ing ep esen ed by he g acioso cha ac e . We a e dealing wi h a kind o hea ical p oduc ion si ua ed in a non- con empo a y pe iod ha , as Jean-Ma ie Thomasseau has said, p esen s a clea p oblem o inding epi ex ual ma e ial in o de o help us o econs uc bo h he ex ual documen s and he modali ies o hei possible pe o mance. We a e hus aced wi h a o al lack o es imonies as ega ds he hea ical genesis o he Po uguese adap a ions. In his si ua ion, as we a e unable o do any “collec ing and making he mos o he w i ings and documen s ha a e di ec ly o indi ec ly connec ed o he ex and he pe o mance” (THOMASSEAU 2008: 236), we a e unable o ollow a exogene ic me hod ha in ol es sea ching o documen s ex e nal o he ex . Ra he , we ha e o adop an endogene ic me hodology o ind he acks and he clues inside he ansla ed ex so as o econs uc he con ex ual condi ions o i s po en ial pe o mance. Conside ing ha hese adap a ions ha e o iginal au och honous elemen s and he adap o is a so o second au ho o he po en ial pe o mance, we a e able o deciphe he po en ial condi ions o i s conc e iza ion on s age in he ex ual o ganism. This is he eason why we ha e o unde ake an analysis a he in e ex ual le el p esen in he adap ed ex oge he wi h ansla ion analysis: esea ching sou ces and in luences. DOLETIANA 3OPERA AND TRANSLATION6 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  In he case o ansla ion analysis, he objec o ou compa ison is essen ially he ope a’s seconda y ex , ha is, he s age di ec ions, bo h explici and implici in he cha ac e s’ lines. The second s ep (sou ce analysis) deals wi h ou conce n o iden i y he possible genesis o he adap o ’s ac i e ecep ion, in pa icula , he o igin o he g acioso cha ac e . Fo ou pu poses, we will ake as an example he adap a ion o Me as asio’s Didone abbandona a (Dido abandoned). The i s e sion o he ope a by he I alian melod ama is was s aged in Naples in 1724 and ansla ed in o Po uguese in 1782. The Po uguese edi ion did no men ion he o iginal au ho , bu added a sub i le: Des uição de Ca hago (Des uc ion o Ca hage), p obably in o de o a ac he Po uguese audience’s a en ion, eminding i o he e ible ea hquake ha happened in Lisbon in 1755. Thanks o ano he Po uguese ansla ion bea ing he same i le bu p in ed in 1790 and showing he o iginal au ho o he d ama (al hough Po uguesized) on he on page, we a e able o ace he sou ce ex since he wo ex s a e exac ly he same (Fig. 2).                     Fig. 2. Dido desampa ada, 1782 (le ), Dido desampa ada, 1790 ( igh ).   Fu he mo e, he p esence o h ee se an s (en i ely absen in Me as asio’s o iginal lib e o) allows us o classi y his Po uguese ansla ion as an adap a ion o a mis ep esen a ion ( ig. 3).  DOLETIANA 3OPERA AND TRANSLATION7 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y                  Fig. 3. Me as asio’s Didone abbandona a (le ) and including he h ee Po uguese g aciosos ( igh ).   When compa ing he wo ex s wi h Me as asio’s inal edi ion as well as wi h i s a ian s, since he ope a had wo di e en I alian edi ions (Be inelli and Hé issan ), we may conclude ha he Po uguese ansla o has used bo h sou ces, as he ollowing example (based on he loci communes me hod) shows:   BETTINELLI EDITION 1733-58 HÉRISSANT EDITION 1780-82 PORTUGUESE ADAPTATION 1782 Ac 1, scene 3 OSMIDA Il co d'Enea non pene ò Selene. Ei disse, è e , che il suo do e lo sp ona A lascia ques e sponde: Ma col do e la gelosia nasconde. Ac 1, scene 3 OSMIDA (Si deluda). Regina, Il co d'Enea non pene ò Selene. Dalla eggia de' Mo i Qui giunge dee l'ambascia o e A bace. Ac 1, scene 1 OSMIDA Rainha, mal pene ou Silene o co açaõ de Enéas: Elle sim disse que se auzen a a po segui o seu des ino: mas só se apa a po naõ pode ole a o seu ciume.   DOLETIANA 3OPERA AND TRANSLATION8 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  This is seems pa icula ly impo an o us, no only because we can hus es i y as o he genealogy o he ex , bu also because i has implica ions ha go beyond he li e a y o hea ical ield, ela ing o he book ma ke o he pe iod and he ecep ion o Me as asian ope a in Po ugal, clea ly ci cula ing in he di e en edi ions. Bu he condi ions whe e Me as a io’s Didone was ecei ed in Po ugal a e also es i ied by some coe al ex s, such as he Disse ação segunda sob e o cha ac e da agédia (Second disse a ion on he na u e o agedy) p esen ed o he A cadia Lusi ana in 1757 by Co eia Ga ção. In c i icizing “ he i egula and mons ous agedies”,i he s a es ha among hem a e “ hose which depic Caesa , B u us, Aeneas, no as men, bu as e emina e boys and impe inen lo e s”, hus implici ly e e ing o he ansla ions o Me as asio’s melod ama ( he au ho o Didone abbandona a is also e e ed o a ew lines be o e). And e en in he Ga ção’s Tea o No o we may ead “bu who can ole a e he g ea Me as asio’s Ca o o Dido pe o med be ween a e ed cu ains, wi hou an o ches a?”. i La e , Inigo explains his pe sonal mise-en- scène o Aeneas’ s o y by commen ing: “i has se e al due s, a ias, ca a ines, I’m su e I can ou -do Me as asio”. ii Wi h ega d o analyzing he ansla ion o he s age di ec ions, we should unde line he ac ha hei highe o lowe deno a i e o conno a i e na u e gi es us possible clues abou he s age condi ions and he poli ical implica ions unde lying he adap a ion. Fo example, he pomp o he Me as asian pe o mance had a p ecise poli ical in en ion in ha i po ayed oyal os en a ion du ing a pe iod o inancial di icul ies due o he Eu opean wa s o he con ol o in e na ional ade. I hus c ea ed oom o an excep ion in he o m o he ope a ic hea e. Bu when his in en ion is adap ed o he Po uguese con ex , he si ua ion changes (Fig. 4). DOLETIANA 3OPERA AND TRANSLATION9 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  An ónio Oli ei a Ba a a is o he same opinion when, in a s udy on he puppe hea e o An ónio José da Sil a, he de ines he ypology o he g acioso in ha au ho ’s plays as a cha ac e who “ eminds he audience ha ano he eali y exis s” (BARATA 1998: 322). This happens, o example, h ough wha Ba a a desc ibes as he des uc ion o he “d ama ic illusion h ough e e ences o he place in which he pe o mance happens o he ma e ial na u e o he se ing i sel ”xi (BARATA 1998: 319). We ha e ound his ea u e e en in he ope a ic adap a ions, no only in Dido desampa ada, bu also in o he Me as asian ansla ions, such as No o D ama in i ulado Deme io em Si ia (1783) and Ope a No a in i ulada I ene na Selecia (1783): 1. Dido desampa ada, Des uição de ca hago, 1782. Baland ao. Espe a, que ago a que o aze a minha despedida em A ia. Chama iz. Isso ago a he ou o can a .x 2. No o D ama in i ulado Deme io em Si ia, 1783. Olin o. Con apon o aonde icou eu amo? Con apon o. Meu amo; Senho Olin o, ica a ago a [?] quando eu pa a aqui im no hea o da Rua dos Condes.x i 3. Ope a No a in i ulada I ene na Selecia, 1783. Escope a. Senho A cabuz deixesse de cump imen os, e diga se io ao P incipe Flo indo que he a quem p ocu o. A cabuz. Há pouco es i e com elle. Escope a. Em que si io, dize meu bemzinho. A cabuz. Na caza da Ope a de Lisboa.x ii The no mal happy ending ha usually closes hese adap a ions does no coun e ac he idea ha he Po uguese g acioso exe s a e o ming unc ion. In ac , we ha e o conside ha all hese ha monious endings do no e ase he “ e olu iona y” in en ions we ha e e e ed o in his pape . They a e e y much he p e ex (due o censo ship p oblems, o example) a he han he conclusi e mo al o he s o y. Wha eally ma e a e he dynamics pu in o ac ion du ing he pe o mance, acco ding o Law ence K ame ’s dialec ic no m/abno m in he ope a ic wo k: “Ope a can be unde s ood only by, and as, a con inuous nego ia ion o he spaces be ween he con es ed posi ion o no mali y and ex a agance in he ields o iden i y and desi e” (KRAMER 2004: 15). DOLETIANA 3OPERA AND TRANSLATION16 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  Conclusion The ansla ion compa ison and he analysis o he Po uguese adap a ions’ in e ex ual e e en s a e decodi ied no only a he le el o econs uc ing po en ial pe o mance condi ions, bu also a he le el o pe cei ing he ole hey play wi hin he cul u al sys em lying beyond he adi ional canoniza ion p ocesses. In ac , in conside ing he adap o / ansla o as he second au ho , his c i ical-pa odic pu poses as ega ds he coe al ope a ic adi ion, and indeed, his capaci y o dialogue wi h he ex s issuing om he collec i e imagina ion abou a speci ic issue, i is easy o see ha his ypology o hea e does no eally de ia e om 18 h cen u y no ions o p og ess and a ionali y. As Ma io Ba a o has said abou Goldoni’s e o m o ealis ic aes he ic alues (and i holds ue o he Po uguese adap a ions oo), his ypology o hea e is “an illusion o eali y ob ained wi h a pe o mance ha s i es o ecognize he eal aspec s o people. […] seeking he audience’s a en ion, enhancing enjoymen as well as u he ing i s c i ical abili ies”x iii (BARATTO 1964: 164). In he Po uguese con ex , he e o e, he g acioso’s unc ion o des abilizing he alues and hie a chy o socie y becomes mo e in luen ial. On he one hand, he le el o in e ex uali yxix wi h which he Po uguese adap o s o I alian ope a moulded hei ansla ions inspi es a palimpses ic sense o sha ing he same li e a y and ideological adi ion o o he Eu opean sys ems, becoming a so o jus i ica ion o he pe locu iona y ac o he poe y. On he o he hand, he singable o m o his gen e cons i u es wha Law ence K ame in 2007 de ined he ac i e in ol emen o he classical music.xx Be o e him, W. H. Auden had al eady explained he peculia i y o ope a when compa ed wi h any o he a is ic p oduc : i s uniqueness lies in i s emo ional-pe o ma i e na u e. In ac , i s immediacy s imula es audience in ol emen and pa icipa ion: I music in gene al is an imi a ion o his o y, ope a in pa icula is an imi a ion o human wil ulness; i is oo ed in he ac ha we no only ha e eelings bu insis upon ha ing hem a wha e e cos o ou sel es. Ope a, he e o e, canno p esen cha ac e in he no elis ’s sense o he wo d, namely people who a e po en ial good and bad, ac i e and passi e, o music is immedia e ac uali y and nei he po en iali y no passi i y can li e in i s p esence […] E e y high C accu a ely s uck demolishes he heo y ha we a e he i esponsible puppe s o a e o chance. (AUDEN 1989: 470 and 474). I was exac ly in he 18 h cen u y ha he ac i e audi ion o music lou ished, a he same ime as he poli ical and philosophical disco e y ha all he human beings ha e an inne and p o ound ego DOLETIANA 3OPERA AND TRANSLATION17 S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  wi h which o eel he sen imen o he music, and ha e men al and poli ical eedom, and human igh sxxi (See KRAMER 2009: 29). I is clea now why, in he 18 h cen u y, he case o he Po uguese adap a ions o I alian melod ama is a pe ec example o ha sel - consciousness. In o de o e-p ocess he my h and de y cul u al and social au ho i y, he Po uguese adap o s chose he I alian ope a as he mos e ec i e medium ha was based on a combina ion o a ionali y (wo ds) and emo ionali y (music) and had al eady ound i s way in o he canons all o e Eu ope. Thus Me as asian melod ama was conside ed o be he app op ia e means o con eying a desi e o di using li e a y expe imen a ion, hea ical en e ainmen and, inally, p og essi e ideals. Wi h he in oduc ion o he g acioso and a mul ile el in e p e a ion (in e ex uali y) o Me as asian ope a’s main cha ac e s, his kind o sub- e sion o he o iginal meanings could undamen ally en ich he local epe oi e in he o m o mis ansla ion. A si ua ion made possible by he speci ici y o he Po uguese con ex in he la es 18 h cen u y, cul u ally pe iphe al and weak a e he 1755 Lisbon ea hquake. Ne e heless, hanks o he consequences o his pe iphe ali y (comic camou lage o I alian ope a se ia), as ega ds he Eu opean cul u al sys em, he adap o could place his wo ks, we hink, in he cen e o he in e nal Po uguese sys em, as shown by he la ge co pus o adap a ions analyzed du ing ou esea ch and, ia nega ionis, by he c i ical s a emen s o i s con empo aneous de ac o s. 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Que cousa mais a a, que hum T aduc o ? Que impo a, que no decu so de la gos annos appa eça huma boa e são, se odos os dias se es ão ou indo as mais e gonhosas pa a a Nação, e pa a os desg açados Au o es? Vemos a ase Po ugueza mais adul e ada nos esc i os dos Comicos, que na boca dos Es angei os, de poucos mezes chegados a Lisboa. Qual he o Espec ado , que pelo idio ismo da aducção não conhece immedia amen e a linguagem o iginal do Poema? E qual he o que não ê pela dilace ação da Fabula, pelos con a ios e ei os, que causão as paixões, e a é pela mudança dos Ti ulos, que o T aduc o se en endeo a G amma ica, igno ou he o ica, e poe icamen e o que aduzia?”. iii “Se i e g aciosos, des ina i ad ‘amenizza e’ i es i, a ende li acce i a un pubblico più incline alla a sa che alla agedia, all’ammicco u besco che alla spa a a o a o ia”. i “As agédias i egula es e mons uosas”. (GARÇÃO 1982: 129). “que pin am os Césa es, os B u os, os Eneias, não como homens, mas como mancebos e eminados e impe inen es amado es”. (GARÇÃO 1982: 129). i “Mas quem há de so e Ca ão ou Dido / do g ande Me as asio, epe ido / en e elhas co inas, / sem o ques a?”. (GARÇÃO 1982: 26). ii “Tem á ios duos, á ias, ca a inas. / Eu cuido que desbanco a Me as asio”. (GARÇÃO 1982: 30). S aging heT ansla iono Ope aasaMediumo (Sub) e sion:Po ugueseApp op ia iono I alianMelod amain he18 hcen u y  DOLETIANA 3OPERA AND TRANSLATION20  iii “La scena di paci icazione degli elemen i na u ali so o l’impe io del deus ex machina in ia limpidamen e al uolo del mona ca, ga an e della i a sociale paci icamen e o dina a”. ix “My li e is mons ous”, “pe idious”, “disloyal”, “impious”, “snake”, “mu de e ”, “me ciless”, “dea ”, “blind”, “ e ocious squande e ”, “ exa ious sub e si e”, “ e used, abho ed”, “unwo hy”, “ illain”, “sac ilegious y an ”; mons e o pi alls”, “lia ”. x “Chama iz. Why do you ha e o lea e! Baland ao. Lea e? May i ne e be so! No; I will lea e in one piece.” The Po uguese wo d pa i has wo meanings: o lea e and o b eak. xi “Aeneas. B a e ollowe s, unbea en A gonau s, i ’s ime o exchange Venus’ deligh s o Ma s’ iumphs. Baland ao. He in i es us o a e y good hing.”). xii “Baland ao. Look, o he las ew nigh s I ha e d eamed o my a he , and he alks o me in he oice o a goose, saying: Do you obey he gods? (in alse o)”. xiii “Aeneas. I don’ unde s and you. Baland ao. Bu , Si , we alk hones ly; I didn’ hink you we e so lea ned”. xi “Des ui a ilusão d amá ica a a és de e e ências ao local de ep esen ação ou à p óp ia ma e ialidade cénica”. x “Baland ao. Wai , because now I wan o sing my goodbye in an A ia. Chama iz. This is ano he kind o singing now ”. x i “Olin o. […] Con apon o, whe e’s you mas e ? Con apon o. My mas e ? Senho Olin o, he was igh [?] when I a i ed he e a he Rua dos Condes Thea e. x ii “Escope a. Senho A cabuz, don’ s and on ce emony, and ell me i you’ e seen P ince Flo indo, because I’m looking o him. A cabuz. I was wi h him a sho while ago. Escope a. Whe e? Tell me, my dea ellow. A cabuz. A he Lisbon Ope a House”. x iii “Un’illusione di eal à o enu a con la app esen azione che ende a a iconosce e al popolo i e i aspe i di essa. […] ce cando la consape olezza del pubblico, essa ne a ina assieme il dile o e la capaci à c i ica”. xix Acco ding o he heo ies o Robe S am, Julie Sande s and Linda Hu cheon, when discussing he in e ex uali y o he adap a ions, i may be “a way o bypassing adi ional alo iza ion an aes he ic hie a chies wi hin adap a ion s udies” (PIETRZAK-FRANGER AND VOIGTS-VIRCHOW 2009: 8). xx “A música clássica p og ediu com uma única inalidade: se ou ida. Ou seja, escu ada e não ou ida como pa e de qualque ou a ac i idade, em ge al um i ual social ou eligioso. […] es e ipo de audição implica a enção ocalizada e, ao mesmo empo, en ol imen o ac i o. Essa a enção é uma o ma de acompanhamen o; não é apenas ou i mas u i com a enção. P a icá-la p essupões que a audição é uma o ma disc e a de ac i idade, que em in e esse po si mesma, independen emen e do que se ou e. Assim en endida, a audição pode sus en a alo es pessoais, sociais e espi i uais, consoan e o modo como se dá, quando e po quem. Es a audição o igina apidamen e a ambição de i além do ca ác e ansi ó io e imp e isí el da audição momen ânea. P ocu a assumi o mas capazes de pe du a e, desse modo, o na-se o ‘clássico’ de que depende a cul u a da audição in ensi icada” (KRAMER 2009: 29). xxi “Es a in enção caminhou a pa com a p eocupação com a libe dade de pensamen o e sen imen o que ca ac e izou o século XVIII. Flo esceu em pa alelo com a ‘descobe a’ polí ica e ilosó ica de que odos os se es humanos assen am num eu in e io p o undo, de que cada um de nós em um núcleo de se p i ado a que chama seu. Es a pessoa in e io é impo an e, numa in inidade de aspec os. É nessa qualidade que emos libe dade men al e polí ica e di ei os humanos. É o Eu in e io que ga an e o ca ác e único de cada um de nós e é nela a base da iden idade, no mundo mode no.” (KRAMER 2009: 29).   