Držić Days in London

As part of the 200th anniversary celebration of UCL (University College London), a two-day cultural and academic program was held dedicated to the great Croatian playwright Marin Držić.

An international symposium on translating Renaissance drama was held at the event, bringing together prominent historians, translators, and theater experts.

The aim of the symposium was to discuss the transition of plays from the European "periphery" across the boundaries of linguistic, cultural, and temporal differences; methods of attracting Anglophone audiences through translation and performance; questions of "cultural ownership"; and the ethical and practical aspects of translation. These topics were addressed by historians and literary experts striving to place such works in their proper context, as well as translators and theater professionals aiming to bridge respect for the original text and author with the modernization of the work for contemporary times. The symposium sought to demonstrate how vital—and challenging—it is to find a balance between the always elusive fidelity to the original text, language, and culture on one hand, and the demands, desires, and expectations of a modern target audience, which itself is never entirely homogeneous, on the other.

The program was moderated by Wendy Bracewell, professor emeritus at University College London and translator of Držić’s work Venus and Adonis into English, published by the House of Marin Držić. In his introductory speech, the Director of the House of Marin Držić, Nikša Matić, emphasized that the English translations of Držić’s works published as part of the Institution's publishing activity have contributed to opening new possibilities for their reception outside the Croatian-speaking area. They have made his plays accessible not only to readers but also to scholars, translators, theater professionals, and a new audience, helping to create the prerequisites for the kind of dialogue held at the symposium. Translating canonical Croatian writers into world languages carries deep cultural and literary significance; it is a way of preserving and expressing the identity of the Croatian language and culture, as well as a way for our literature to become an active participant in world culture. Philip Parr, director of the York International Shakespeare Festival and founder and creative director of the artistic organization Parrabbola, spoke about frequently directing Shakespeare's works in foreign languages. He specifically reflected on adapting and directing Držić’s pastoral Venus and Adonis in English, for which he wrote a play-within-a-play that compared Držić’s significance in the Renaissance era precisely to the Bard of English literature.

Filip Krenus, a translator, actor, producer, and founder of Honey-Tongued Theatre Productions, explained to the audience how he approached translating Držić's works into English (Uncle Maroje, A Novelty of Stanac, The Miser, and Grižula) and how he preserved their liveliness and complexity in English. He used the opportunity to announce that he is currently working on a new translation.

Tena Štivičić, Director of Drama at the Croatian National Theatre in Zagreb and a multi-award-winning dramatist and writer not only in Croatia but also in Great Britain, spoke from the perspective of an author who writes in two languages. She chooses the language depending on the topic and the client, and she particularly highlighted the challenge she faces when she needs to translate her own plays into a third language.

Literary historian Prof. Dr. Ivan Lupić from the Department of English and the Department of Croatian Studies at the Faculty of Humanities and Social Sciences, University of Rijeka, emphasized in his presentation that while Marin Držić is best known today for his prose comedies, he himself likely held his own poetry and verse plays in higher regard, given that he printed them in two books in 1551. He reminded the audience that Držić is exceptionally well-known in Croatia, leading people to think they know everything about him, which is why translations offer an opportunity for a fresh look at Croatia's greatest comic playwright. He also stressed an important fact that is forgotten today—in the 16th century, Držić belonged to a larger and more significant language than Shakespeare did at the time.

Dr. Alexander Samson, a Professor of Early Modern Studies at University College London who specializes in English and Spanish literature, expressed his satisfaction at discovering a new writer. He noticed similarities between Držić and Spanish dramatists of that era in the way they applied different styles of language to various categories of characters. He stated that a relevant translation is one that is good, and that there is no such thing as a bad adaptation, only a bad text.

Following the academic discussions, a reception was held at the Embassy of the Republic of Croatia in London. Chargé d'Affaires Davor Ljubanović welcomed the guests, who were also addressed by the Deputy Mayor of Dubrovnik Velibor Puzović, the Director of the House of Marin Držić Nikša Matić, and translators Wendy Bracewell and Filip Krenus.

A special moment of the reception was the performance of a short excerpt from Držić’s famous comedy Uncle Maroje, interpreted by actress Amanda Osborne.

The central part of the program was a unique performance at the Bloomsbury Studio:

“Venus and Adonis and Will and Alice”—a brilliant theatrical mix that combines Držić's pastoral A tale of how the goddess Venus catches fire with love for the beautiful Adonis put into a comedy (translated by Wendy Bracewell) with a new dramatic framework by director Philip Parr. Since Shakespeare famously mentions Illyria—the ancient name for the area of the present-day Republic of Croatia and its Adriatic coast—in his play Twelfth Night, this witty production humorously depicts the English Bard encountering "real" Illyrians in an Elizabethan corner, who then perform Držić’s piece for him! This performance was brought to life on stage by actors from the York International Shakespeare Festival.

“Long Nose Speaks”—a collage performance directed by Filip Krenus and performed by Honey-Tongued Theatre Productions, introducing the British audience to fragments of Držić’s finest works.