not before 4:30, nor after 5:00 is also included in Maison Antoan Vitez translation programme for 2020.
His play not before 4:30, nor after 5:00 was awarded the best drama for 2019 at “Sterijino pozorje,” the biggest festival for Serbian dramatists. He has a master’s degree in dramaturgy from the Faculty of Dramatic Arts in Belgrade. As someone who is not primarily a translator, I cannot say whether I was successful in achieving these effects, but I was helped greatly by the peer reviewers and the editors of The Mercurian.įilip Grujić (1995) is an award-winning writer from Belgrade, Serbia. I approached the text from the actor’s perspective and imagined that the upper-class characters, the Byers family, speak in the transatlantic accent Dr Bailey felt as someone who would insist on the accent and who would slightly overuse the highbrow phraseology while the choir of Radium Girls was the voice of the oppressed working class, disillusioned by tragedy and disease, but still poetic in its choral form. The dialogue (or more precisely, the monologues), sounded “quirky” in the original, and I wanted to preserve that quality in the translation. Initially, it seemed easy, because English is the logical sound image for such a story, but it was quite the opposite. In the cases of eben byers, the difficulty, besides working independently, was that I was presented with an original dramatic text dealing with an American story, written in Serbian. I was, naturally, immensely helped by Cory as a native speaker. In that case, I was faced with a challenge of transposing the specificities of the Bosnian cultural space, manifested in the phraseology of the local dialect, and the peculiarities of the author’s style into American, i.e.
Eben byers’ jaw is my second translation to be published in The Mercurian, the first being Tanja Šljivar’s We Are the Ones Our Parents Warned Us About, published in the fall issue of 2018 and co-translated with American artist Cory Tamler.
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