a tendency to erase the translator in the process of adaptation of the play to the UK, often replacing them with a big-name playwright. Gregory demonstrates here that there is no need for this if we trust the translator who is aware of the needs of the stage. Some of the more parochial aspects of these plays may seem quite distant to a UK audience on a first glance: the highly localized nature and cultural coordinates of A Basque History; Spain’s complex relationship with its recent past, the dictatorship and Civil War; how this has given rise to an autocratic political class that often seems to champion its own corruption; even the particulars of its colonial history. However, as Gregory implies, it does not take a huge effort for us to project our own local anxieties and demons onto the conflicts as presented to us by these playwrights. Perhaps, the question is not so much of translation then, but of theatrical culture: will UK theatre programmers trust that their audiences are capable of making this leap?

中文翻译：

---

迷宫与惊奇：博尔赫斯与西方哲学

有一种在剧本改编英国的过程中抹去译者的倾向，经常用大牌剧作家代替他们。Gregory 在此证明，如果我们信任了解舞台需求的译员，就没有必要这样做。乍一看，这些戏剧的一些更狭隘的方面对英国观众来说似乎很遥远：巴斯克历史的高度本地化的自然和文化坐标；西班牙与其最近的过去、独裁统治和内战的复杂关系；这如何导致一个专制的政治阶级似乎经常捍卫自己的腐败；甚至其殖民历史的细节。然而，正如格雷戈里暗示的那样，我们并不需要付出巨大的努力，就可以将我们自己当地的焦虑和恶魔投射到这些剧作家呈现给我们的冲突上。也许，