The article takes the case of Yaël Farber’s performance Molora (an adaption of the ancient Greek tragedy Oresteia to the specific historical South African moment of transition to democracy and the hearings of the Truth and Reconciliation Commission) as a departing point to delve into the question of the translatability of tragedy. With such a proposition in mind, the argument is informed by the relatively new field of cultural translation studies. Against this background, the translatability of the epistemological conditions of the Aristotelian concept of tragedy and its Western legacy will be considered. By proposing to translate the traditional notion of tragedy as literary dramatic genre to conceive of tragedy as event the article will delve into ethical questions concerning the human condition in relation to fate, which enhance guilt, judgement, the collision of force and law and the quest for justice. To connect these questions to tragedy, a distinction has to be made between the ethos of tragedy as an artistic form and the pathos (the grief) of those who experience a disaster or ruin in a situation of everyday life.

中文翻译：

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翻译悲剧：Molora 和 Yaël Farber 为南非社区改编了埃斯库罗斯的《俄瑞斯忒亚》

本文以 Yaël Farber 的表演 Molora（古希腊悲剧《奥瑞斯提亚》改编自南非向民主过渡的特定历史时刻和真相与和解委员会的听证会）为出发点，深入探讨了悲剧的可译性。考虑到这样一个命题，这个论点是由相对较新的文化翻译研究领域提供的。在此背景下，将考虑亚里士多德悲剧概念及其西方遗产的认识论条件的可译性。通过提议将悲剧作为文学戏剧体裁的传统概念转化为将悲剧视为事件，本文将深入探讨与命运相关的人类状况的伦理问题，这会增强内疚感，判断力与法律的碰撞和对正义的追求。要将这些问题与悲剧联系起来，必须区分作为一种艺术形式的悲剧精神与在日常生活中经历灾难或毁灭的人的悲痛（悲伤）。