Bouillabaisse
[N most translations of French plays, dialect presents no problem, A French text becomes an English one, we accept the convention of Frenchmen speaking perfect English without demur, and the scrupulousness of pronunciation of French names may be left to the discretion of the producer, But in translating a regional, earthy comedy, such as Marcel Pagnol’s Marius, what accent will you use? There was some confusion in the NZBS_ production. Dorothy Munro, as Fanny, succeeded admirably
in an accent not refined, but unidentifiable. Davina Whitehouse opted for stage Cockney char, and every time she opened her mouth, shot you from Marseilles to the Old Kent Road. The men were varyingly successful by roughening the edges of their normal speech. But how the ghost of that great French actor Raimu stalked this piece! I shall never forget his gruff charm and mountainous humanity. On the whole, Marius was very sensitively produced, if somewhat lengthy and diffuse towards the end. I hope Mr Austin will soon do for us Fanny and César. But when he produces Fanny, I should be obliged if he will standardise her name. I heard last week Farney,. Fonny, Funny, Fannee, and plain Fanny. I prefer plain Fanny, myself. Just so long as it’s consistent.
B.E.G.
M.
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New Zealand Listener, Volume 36, Issue 919, 22 March 1957, Page 14
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210Bouillabaisse New Zealand Listener, Volume 36, Issue 919, 22 March 1957, Page 14
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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