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Sample translations submitted: 1
Croatian to English: Nora in Our Time General field: Art/Literary Detailed field: Cinema, Film, TV, Drama
Source text - Croatian Nora
Drama
Lica iz “predstave”:
NORA, perspektivna žena
TONI, njezin muž
KARLO, bivši tajkun
LIDIJA, Norina prijateljica
RANKO, psihijatar
MAJA, novinarka
JANA, služavka
Lica iz “stvarnosti”:
GLUMAC, koji želi biti pisac
GLUMICA, zamorena glumom
PRVI ČIN
1. scena
dnevni boravak
Nora, Jana, Toni, Lidija, Ranko
Pred nama je moderno uređen dnevni boravak. Sav namještaj i svi predmeti su novi. Osjeća se želja vlasni¬ ka za iskazivanjem bogatstva. U sobu ulazi Nora obuče¬ na u svečanu crnu haljinu. Ona je atraktivna trideset- osmogodišnja žena, čiji izraz lica odaje odlučnost. Nora promotri jedan stol, kažiprstom prođe po njegovoj po¬ vršini, a potom ga prinese očima. Licem joj preleti ljut¬ nja. Potom priđe drugom stolu i ponovi već viđenu rad¬ nju. Obuzme je još veće nezadovoljstvo. Duboko uzda¬ hne i snažnim glasom počne dozivati.
NORA: Jana! Jana!
Na vratima se pojavi šezdesetogodišnja služavka Jana.
JANA: Tu sam.
NORA: Gosti samo što nisu došli, a stolovi su puni pra¬
šine.
JANA: Nemoguće! Dvaput sam danas brisala.
Nora prođe prstom po jednom stolu, a potom kaži¬ prstom pokaže Jani.
NORA: Pogledajte! Zar je to obrisano?
JANA: Stvarno ne znam kako je moguće...
TONI: Naravno da sam mislio. Znaš da mi kravate idu na živce i ne vidim zašto bih trebao samoga sebe mućiti, kada se bolje osjećam bez kravate nego s kravatom.
NORA: Toni, dušo, danas je poseban dan. Dolaze svi na¬ ši prijatelji i moji najznačajniji poslovni partneri. Bar danas trebaš na trenutak zaboraviti što voliš, a što ne voliš. Možda bi i meni bilo draže biti u trenirci i papučama nego u ovoj haljini i ovim cipelama, pa si ne dopuštam tu slobodu koju ti sebi želiš uzeti zbog lijenosti, zbog komocije. Izvoli - stavi kravatu i ponašaj se kako se to od tebe očekuje.
TONI: Oprosti, Nora, ali glupo m i je nositi kravatu doma.
Ja sam domaćin, a ne gost. Tko normalan nosi kravatu
u svojoj kući?
NORA: Molim te, dušo, ne pričaj gluposti, nego stavi tu
kravatu. Svi muškarci koji se večeras pojave na našoj
proslavi imat će kravatu. Kako ti je uopće moglo
pasti na um da budeš bez nje?
U sobu ulazi Jana s krpom za prašinu u ruci, prilazi
najbližem stolu i počinje ga brisati.
TONI: U redu, u redu. lako mi to tako ide na živce. Stavit
ću tu glupu kravatu, kad ti je toliko stalo do nje.
Toni izlazi.
NORA: Užasava me to koliko puta moram ponavljati što
tko mora učiniti. Što je čiji zadatak. Kao da se meni
radi sve što radim, pa ne postavljam pitanja, jer ih
nemam kome postavljati.
Jana prelazi na drugi stol brisati prašinu.
JANA: Hoće li gosti piti aperitiv ovdje ili u blagovaonici?
NORA: Ovdje, ovdje. Potom prelazimo u blagovaonicu.
Jeste li stavili piće u hladnjak?
JANA: Jesam.
Zvono na vratima.
NORA: Evo, već je netko došao. I to deset minuta prije
vremena. Molim vas otvorite. I sakrijte tu krpu.
Jana izlazi. Trenutak potom u sobu ulazi Lidija. To je
žena od svojih četrdeset godina, odmjerena izgleda i
odmjerenih gesta. U ruci nosi umotan dar.
LIDIJA: Dobra večer, šefice.
NORA: Bog, dušo! Već sam se uplašila da je netko drugi-
LIDIJA: Došla sam malo ranije, ako treba što pomoći.NORA: Sve je spremno, pa opet - drago mi je što si došla
prije ostalih.
Lidija joj pruži dar.
LIDIJA: Evo, izvoli! Nešto za novi stan.
NORA: Hvala ti.
Nora raspakira dar. Ugledamo vazu za cvijeće.
NORA: Predivna je!
LIDIJA: Drago mi je da ti se sviđa.
NORA: Mislim da će mi večeras trebati, kad navale s
cvijećem. Tako sam uzbuđena.
LIDIJA: Znači da se spremaš održati govor?
NORA: Pretpostavljam da se to očekuje od mene.
LIDIJA: Bez sumnje... Sedma je obljetnica agencije, a
još je važnije to što ste uselili u ovaj prelijepi stan...
Za vaše prijatelje to je možda puno važnije nego obljetnica
agencije.
NORA: Da nije bilo te agencije, ne bi bilo ni ovoga stana.
Od agencije živimo, znaš i sama kako i koliko moj
muž zarađuje. Ono od čega dobivaš kruh zavređuje
veće poštovanje od kruha samoga.
U sobu ulazi Toni. Stavio je kravatu.
TONI: Dobra večer, Lidija!
LIDIJA: Dobra večer!
TONI: Je li ovako u redu?
NORA: Dušo, zašto nisi uzeo svjetliju kravatu? Uz to odijelo
ide svjetlija kravata.
TONI: A meni se čini da baš ova odgovara. Želim biti
neupadljiv, ovo je ipak tvoja večer.
NORA: I za neupadljivost treba ukusa. Večeras je proslava,
a ne sahrana. Kada na tamno odijelo staviš
tamnu kravatu, onda nalikuješ na pogrebnika. A mi
nismo na pogrebu.
TONI: Ja se ovako osjećam dobro.
NORA: A ja se osjećam grozno kad te pogledam. Molim
te, stavi drugu kravatu.
TONI: Ma daj, ženo, pusti me! I ovu sam stavio preko
volje, za tvoju dušu.
NORA: Molim te, Toni, promijeni kravatu. Molim te, ne
prisiljavaj me da te cijele večeri gledam takvoga kakav
si sada. Molim te.TONI: Stvarno mi se ne da.
NORA: Molim te. Učini mi to, kad te molim.
TONI: Je li takva i prema tebi u agenciji?
LIDIJA: Još i žešća. Samo, ja joj ne pružam otpor. Tako
je puno jednostavnije.
TONI: Pametnije mi je odmah popustiti nego gubiti vrijeme
na uvjeravanje.
LIDIJA: Apsolutno! I tako uvijek mora biti kako Nora odluči.
NORA: Samo vi mene kritizirajte, dok vam to dopuštam.
Zloupotrebljavate demokraciju.
LIDIJA: A gdje vam je kćerka?
TONI: To bih i ja volio znati.
NORA: Otišla je s dečkom u kino.
LIDIJA: Znači, neće biti večeras na proslavi.
NORA: Na žalost, neće.
TONI: Mislim daje premlada za dečka. Ona je još dijete.
NORA: Petnaest joj je godina. Dečko je u redu.
TONI: To i ja kažem - tek joj je petnaest godina.
NORA: Izgleda kao zrela žena.
TONI: U duši je dijete.
NORA: Mnogi su i u četrdesetoj u duši djeca. Mladić je
dvije godine stariji od nje. Odgovoran je, odličan učenik,
kao i ona. Vole se. Bolje da što prije sazre kao
djevojka nego da vrijeme provodi u svojoj sobi, u glupim
pubertetskim razmišljanjima o smislu života.
TONI: Ne slažem se s tobom.
NORA: Gosti samo što nisu došli. Hoćeš li, napokon,
promijeniti tu kravatu ili...
TONI: A što mi drugo preostaje.
Toni iziđe iz sobe.
NORA: Ponekad mi se čini d a je vama slobodnim ženama
deset puta lakše nego nama udanima.
LIDIJA: A mi mislimo d a je lakše vama.
NORA: Kao da imam dvoje djece. Teže mi je s njim izići
nakraj nego s kćerkom.
Zvono na vratima.
NORA: Jana, otvorite gostima!
LIDIJA: Dolaze!
NORA: A još ni kravatu nije stavio.
U sobu ulazi Ranko. U jednoj ruci nosi buket cvijeća,
a u drugoj bocu vina.
RANKO: Dobra večer.
NORA: Dobra večer.
RANKO: Jedva sam našao parking. Ovaj grad je stvarno
postao... Evo, izvoli - ovo je za tebe.
Pruža Nori cvijeće.
NORA: O , hvala ti. Predivno je.
RANKO: A gdje je moj prijatelj?
NORA: Negdje u ormaru - u potrazi za kravatom.
RANKO: Piće je za njega... ali pošto ga nema, mogu ga
i tebi dati.
Predaje joj bocu pića.
NORA: Da vas upoznam. Lidija radi kod mene u turističkoj
agenciji. Moja desna i jedina ruka. A ovo je doktor
Ranko, poznati psihijatar i Tonijev prijatelj.
Ranko i Lidija se rukuju.
RANKO: Drago mi je.
LIDIJA: Drago mi je.
RANKO: Ovaj stan je stvarno predivan. Ogroman. Na dobrom
je mjestu i... doista je lijep.
NORA: A tek da vidiš blagovaonicu.
RANKO: Što si ono rekla - koliko ima kvadrata?
NORA: Stotinu osamdeset.
RANKO: Sjajno. Stvarno komotno. Vidio sam ti neki dan
fotografiju u novinama s tvojom izjavom protiv Ministarstva
turizma. Opasno si ih napala da zanemaruju
važnost malih agencija za naš turizam. Doista si
bila oštra.
NORA: Pa kao predsjednica Sindikata turističkih radnika
moram biti oštra. To naše ministarstvo je ispod svake
kritike, misle samo na sebe i na svoje fotelje.
Umjesto da nam olakšaju posao, oni nam ga svakodnevno
otežavaju svojim glupim propisima.
U sobu ulazi Toni. Na njemu je nova kravata.
TONI: Hej, koga ja to vidim?!
RANKO: Dobra večer, prijatelju.
Toni i Ranko se rukuju.
TONI: Drago mi je što si došao.
RANKO: Dugo te nisam vidio... Kako si?
TONI: A... tako. Nije loše.
Zvono na vratima!
NORA: Jana, otvorite vrata!
Translation - English Nora in Our Time
Characters from „the play“
NORA, enterprising, upwardly mobile buisinesswomen
TONY, her husband
CARL, formely wealthy and powerful, now ruined
LYDIA, Nora´s friend
RANKO, psychiatrist
MAYA, journalist
JANA, housekeeper to Nora and Tony
„Real – life“ characters
ACTOR, who wants to be playwright
ACTRESS, tired of acting
FIRST ACT
SCENE 1
(living room)
(Nora, Jana, Tony, Lydia, Ranko)
(When the curtain rises we view a fashionable, contemporarily designed living area. All of the furnishings and all the objects in the room are new. One senses the desire of the owner to demonstrate his wealth. Nora enters dressed in a formal black dress. She is an attractive woman of around thirty-eight with a decisive look about her. Nora examines one of the tables. She runs her index finger across the surface of the table, then examines her finger closely. A look of annoyance passes over her face. She approaches another table and repeats the same procedure. Her dissatisfaction grows even more apparent. She takes a deep breath and begins to call in a loud voice.)
Nora: Jana! Jaanaa!
(Jana, the housekeeper, appears in the doorway.)
Jana: Yes, ma'am?
Nora: The guests are due to arrive any minute and the tables are covered with dust!
Jana: But ma'am, I dusted them twice today.
(Nora runs her finger across the surface of one of the tables, then holds it up for Jana to see.)
Nora: Just look! Do you call that dusted?
Jana: How can that be? I don’t understand...
Nora: No time for explanations. Take a dustcloth and dust them again!
(Tony, Nora’s husband, enters. He looks to be around forty years old. He is wearing a dress shirt and just putting on his jacket as he enters the room.)
Tony: There, now I’m all set for company, for a celebration, for anything...
Nora: And your tie?
Tony: What tie?
(Jana leaves the room.)
Nora: Where’s your tie?
Tony: What do I need a tie for?
Nora: You didn’t think you could get up in front of all our guests on a day like today without a tie?
Tony: As a matter of fact, I did. You know how I hate wearing a tie. Why I should torture myself, when I feel better without a tie than with one?
Nora: (in a conciliatory tone) Tony, dear, today is a special day. All of our friends are coming and my most important business partners. At least today, you ought to be able to put aside your likes and dislikes. Don’t you think I’d rather be wearing a sweatsuit and slippers, than this dress and shoes? I can’t allow myself that liberty which you take for yourself simply because you are too lazy to make the effort or just to cause trouble. Please, put on a tie and behave as people expect you to.
Tony: I’m sorry, Nora, but I find it stupid to have to wear a tie in my own home. I’m the host and not a guest. What normal person wears a tie in his own home?
Nora: Please, dear, don’t be ridiculous. Go put on a tie. All the men coming to our celebration
Nora: Please, dear, don’t be ridiculous. Go put on a tie. All the men coming to our celebration this evening will be wearing a tie. How could you even consider going without?
(Jana comes back into the room carrying a dustcloth, goes up to the nearest table and begins to dust it)
Tony: Alright, alright. If it’s that important to you, I’ll go put on a stupid tie, even if it bothers the heck out of me to have to wear one.
(Tony exits.)
Nora: It drives me insane that I have to constantly to explain to everyone what each person has to do, who has to do what. As if I feel like doing everything I have to do. I never question what it is I have to do, because I don’t have anyone to ask.
(Jana goes over to another table and starts dusting.)
Jana: Will the guests take their cocktail here or in the dining room, ma’am?
Nora: Here, here. Afterwards we’ll move to the dining room. Did you put the drinks in the refrigerator?
Jana: Yes, ma’am.
(The doorbell rings.)
Nora: Someone’s here already. And whoever it is is ten minutes early. Please go and open the door. And get that rag out of sight!
(Jana exists. A moment later Lydia enters the room. She is around forty years old, modest in her appearance and her gestures. In her hand she carries a gift-wrapped package).
Lydia: Good evening, Madam director!
Nora: Hello, darling! You gave me such a fright! I thought it was one of the other guests already.
Lydia: I came a little early, in case you need any help.
Nora: Everything is ready, but still, I’m glad you got here before the others.
(Lydia presents her with the gift).
Lydia: Here! Something for your new flat.
Nora: Thank you!
(Nora unwraps the present and takes out a vase.)
Nora: It’s beautiful! Thank you very much!
Lydia: I’m glad you like it!
Nora: I think I’ll need it tonight, when they begin to shower me with bouquets. I’m so excited!
Lydia: So you’re going to hold a speech?
Nora: I’m sure everyone will expect me to.
Lydia: No doubt. It’s the seventh aniversary of the founding of the agency, and what’s more you’ve just moved into this luxurious new apartment. For your friends, that’s even more important maybe than the anniversary of your business.
Nora: If it weren’t for the agency, there wouldn’t be this apartment either. It’s the money from the agency we live on, and you know yourself how much my husband earns. What you earn your bread from deserves more respect than bread itself!
(Tony comes into the room. He has put on a tie.)
Tony: Good evening, Lydia!
Lydia: Good evening!
Tony: Is this alright?
Nora: But dear, why didn’t you take a lighter-colored tie? A light-colored tie would go well with that suit.
Tony: I think that this tie goes well with it. I want to be unobtrusive. It's your evening after allNora: To be unobtrusive requires taste. Tonight is a celebration, not a funeral. When you put a dark tie on with that suit, you look like a pall-bearer – and we're not at a funeral.
Tony: I feel just fine like this.
Nora: And I feel awful when I look at you. Please dear, put on another tie.
Tony: Aw' com' on, leave me alone, will you? I didn't even want to put this one on. I only did it to please you.
Nora: Please, Tony, change the tie. Please. Don't make be look at you the whole evening the way you are now, please.
Tony: I really don't feel like it.
Nora: Please. Do it for me, since I'm asking you.
Tony: Is she like that toward you in the agency?
Lydia: Even worse. Only I don't put up any resistance. It's much simpler that way.
Tony: I guess it would be smarter for me to give in right away than to lose any more time trying to convince her.
Lydia: Absolutely! Everything has to be just as Nora says it should.
Nora: Just keep on criticizing me – as long as I let you. It's your democratic right, after all.
Lydia: Where's your daughter?
Tony: That's what I'd like to know.
Nora: She went to a movie with her boyfriend.
Lydia: Then she won't be at the celebration?
Nora: Unfortunately, no.
Tony: I think she's too young to have a boyfriend. She's still a child.
Nora: She's fifteen. Her boyfriend is just fine.
Tony: That's what I say: she's only fifteen.
Nora: She's a young woman. She looks like she's twenty.
Tony: Inside she's still a little girl.
Nora: A lot of people still behave like teenagers when they're forty. The boy is two years older than she is. He's responsible. A good student, like she is. They care abouteachother. It's better she grows up as quickly as possible than that she spends all her time locked up in her room brooding over some teenage imaginings about the the meaning of life.
Tony: I disagree.
Nora: The guests will be here any minute. Will you finally go and change that tie or am I going to have to...
Tony: I guess I have no choice.
(Tony leaves the room).
Nora: Sometimes I think you single women have it ten times easier than we married women.
Lydia: And we always think it's easier for you than for us.
Nora: It's as though I have two children. It's harder for me to manage with him than with my own daughter.
(The doorbell rings.)
Nora: Jana, open the door for the guests!
Lydia: They're here!
Nora: And he still hasn't got a tie on.
(Ranko enters the room. In one hand he is carrying a bouquet of flowers, in the other a bottle of wine.)
Ranko: Good evening!
Nora: Good evening!
Ranko: I barely found a place to park. This city has really gotten to be... Excuse me, please. Here, this is for you.
(He offers Nora the flowers.)
Nora: Why, thank you. They're lovely.
Ranko: Hey, where's my buddy?
Nora: In his closet somewhere, looking for a tie.
Ranko: The wine is for him...but since he isn't here yet, I can give it to you.
(He gives her the bottle of wine.)
Nora: Allow me to introduce you. Lydia is my co-worker in the travel agency. My right and my left hand. And this is Dr. Ranko, a well-known psychiatrist and a friend of Tony's.
(Ranko and Lydia shake hands.)
Ranko: Pleased to meet you.
Lydia: Pleased to meet you.
Ranko: This apartment is truly amazing! It's enormous! And what a great location!...Really, it's fantastic!
Nora: Wait till you see the dining room!
Ranko: How big did you say it was?
Nora: 520 square feet.
Ranko: Unbelievable! What luxury! Hey, I saw your picture the other day in the newspapers with your statement about the Ministry of Tourism. You really gave it to them with that remark about them ignoring the smaller travel agencies and failing to recognize their importance for the tourism industry in this country.
Nora: Well, as president of the trade union I can't afford to beat around the bush. And the Ministry of Tourism really deserves it; they're always thinking only of themselves and their own advantage. Instead of supporting us and trying to make our lives easier, they spend their time making our lives from day to day more difficult with their stupid regulations.
(Tony enters. He is wearing a new tie.)
Tony: Hey, who's that I see?
Ranko: Hey, old man!
(Tony and Ranko shake hands).
Tony: I'm glad you came.
Ranko: I haven't seen you in ages.... How are you?
Tony: Uh, I don't know... alright, I guess.
(The doorbell rings.)
Nora: Jana, open the door!
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Bio
Born in New York in the late 1950's, I attended school in Maryland. Early on, I developed a strong interest in languages, dedicating my efforts to German, French, and Latin during my studies in Virgina. After completion of my BA in Philosophy and Religion, with minors in German and English I was awarded a Fulbright International Fellowship to Germany in 1981, where I completed my MA and PhD in Philosophy, German, and Ancient Greek at the University of Freiburg. I learned Croatian from my husband, whom I met in Freiburg, and within two years was fully fluent. I began translating as part of my studies and continued freelancing into my professional career as an academic after our move to Zagreb in 1992. I have translated a series of academic papers for edited volumes and journals over the years and provided proofreading and editing services on a formal and informal basis. I have also translated literary works, and have a particular interest in poetry, music, and the arts.