By Rafael Spregelburd
Translated by Samuel Buggeln and Ariel Gurevich
Sometimes I hide a document. I put it somewhere secret, and I start to gauge the effects. When I see everyone’s desperate, I pull the document from its stash, sign it and get the belt running again. I make myself indispensable, you understand?
By Francisco Bernardo de Quirós
Translated by Ben Gunter, Kerry Wilks, and Samuel (Chip) Worthington
I’ll be as still as a dead man. Marta, tell me, God’s truth, do you know what killed me?
By Enriqué Zumel
Translated by Christopher Kidder-Mostrom
Through that terrible crone’s interfering,
I move on from this place empty-handed.
From your hands we’d like to be hearing
Applause as the room you are clearing,
If pleased you “A Fiery Young Man” did.
By Federico García Lorca
Translated by Luigi Salerni
I don’t think it will occur to the other woman or the lady Secretary to come around here again when five years pass, but if they should come…
By Jorgelina Cerritos
Translated by Margaret Stanton and Anna Donko
Cerritos’ concern with the theme of identity, not as an ethnic construct, but rather as an existential angst, is expressed through techniques of the Theatre of the Absurd such as the lonely desk on an isolated beach, Dorotea’s insistence that her lone client gets in line and the obsession with documents as proof of existence, documents that cannot be obtained without, ironically, other documents.
By Críspulo Torres
Translated by John Thomas Howard
For them, for all Colombians who have lived through the conflict, there is no silence whatsoever; there is only the endless report of bullets, the continued sound of explosions going off in the distance, and the sirens and the screams that accompany these things.
By Sophie Louise Stevens
This article focuses on the process of translating Bailando sola cada noche written by Uruguayan dramatist Raquel Diana in 2008.