The actor is tasked with embodying text in order to portray the characters’ intentions. This article shows that such a complex task escalates when the actor performs in a second language. In South Africa, where eleven official languages are embraced, the multiplicity and crossover of spoken languages is a daily challenge for actors and theatre makers, leading to a preference for physical performances, which limits the use of text. The production of embodied sound patterns embedded in a text informed the creative process of an experimental production of Chekhov’s Three Sisters. It was created with a second-language cast (speakers of Setswana and Afrikaans) whose over-arching goal was to consider the embodied patterns of pre-linguistic expression as a theatre-making tool. When reflecting on their work, the actors indicated that their explorations facilitated a connection with the text in English and generated the relevant dynamics for the play’s sociopolitical themes to be adequately ‘translated’ to a contemporary multilingual South African context. Karina Lemmer is a Senior Lecturer in the Department of Performing Arts at Tshwane University of Technology in Gauteng, where she teaches acting and voice. She has directed a number of multilingual productions, including Buried Voices (2018) and Motlotlegi (2019), and has published in the Voice and Speech Review (2018).

中文翻译：

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作为连接器的声音模式：三姐妹的实验制作

演员的任务是体现文字以描绘角色的意图。本文表明，当演员以第二语言表演时，如此复杂的任务会升级。在接受 11 种官方语言的南非，口语的多样性和交叉性是演员和戏剧制作人每天面临的挑战，导致人们偏爱身体表演，这限制了文本的使用。嵌入文本中的具体声音模式的制作为契诃夫的实验作品的创作过程提供了信息三姐妹。它是由第二语言演员（说塞茨瓦纳语和南非荷兰语的人）创作的，他们的首要目标是将前语言表达的具体模式视为一种戏剧制作工具。在反思他们的作品时，演员们表示他们的探索促进了与英语文本的联系，并为该剧的社会政治主题产生了相关动力，以充分“翻译”到当代多语言南非语境。Karina Lemmer 是豪登茨瓦内科技大学表演艺术系的高级讲师，教授表演和声乐。她执导了多部多语种作品，包括埋没的声音（2018）和莫特莱吉（2019），并已发表在语音和语音评论（2018 年）。