Insólito por lo repentino…Así: ¡stuc!… Hice una rápida comparación con los golpes que me daba mi marido… No…éste dolía más… Mi marido me pegaba de frente, como un hombre. Lo último que recuerdo es un dolor de cabeza… Un dolor absurdo de tan grande.
The experience of abuse is brought to light in Joyce’s opening monologue during which she tries desperately to describe, understand and remember what she was doing before a sudden pain to her head occurred: This dramatic artifice also serves to establish a sense of intimacy and proximity between audience and actors which is enhanced through the performance because what the audience witness in the theatre is immediate, transient and unique. The play is set in the enclosed space of Joyce Vincent’s living room and the playwright uses the artifice of the private to provide an insight into the protagonist’s afterlife. Some aspects of the experience of the protagonist of Bailando sola coincide with the story of the real Joyce Vincent, in particular both women experienced domestic violence with their ex-husbands. Raquel Diana dramatizes Joyce’s death by ascribing actions, gestures, words and songs to the period of time about which it is practically impossible to ascertain any details that is the period of time between her death and the discovery of her corpse. The play presents an imagining of Joyce Vincent’s experience of death. Her body was discovered in her flat in Wood Green, North London, in February 2006 when local authorities entered in order to investigate rent arrears. īailando sola takes as a starting point the true story of the death of a woman in London, Joyce Vincent, who was found dead, slumped in front of her TV, having remained there for approximately two and a half years. The text was published by Editorial Yaugurú in 2013 and this edition was awarded second prize in the drama category in the Premios Nacionales de Literatura del Ministerio de Educación y Cultura del Uruguay in 2015.
In 2013 the play was selected for inclusion in the series of rehearsed readings held at the Asociación General de Autores del Uruguay in Montevideo and organised in conjunction with the Escuela Multidisciplinaria de Arte Dramático (EMAD), and it has not yet had a full production. In 2010 the play was awarded the first prize for Theatre (Comedy) in the Premios Anuales de Literatura del Ministerio de Educación y Cultura del Uruguay. This article focuses on the process of translating Bailando sola cada noche written by Uruguayan dramatist Raquel Diana in 2008. Distance and Proximity in Analysing and Translating Bailando sola cada noche (Dancing alone every night)
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