Difference between revisions of "A.E. Carinus-Holzhausen"
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| − | + | Mrs [[A.E. Carinus-Holzhausen]] was a passionate supporter of the arts, a literary advisor and translator for the early Afrikaans theatre. | |
| − | She was the first secretary of the [[Afrikaanse Kultuurvereniging en Toneelskool]] established by [[Danie Smal]]. Notable for her translation of Südermann’s Heimat as ''[[Huis Toe]]'' (Going Home) for [[Paul de Groot Toneelgeselskap|Paul de Groot]]’s first real professional and commercial success. She subsequently did numerous translations for De Groot and other producers, including [[Henrik Ibsen|Ibsen]]’s ''The Doll House'', initially called ''[[Geleende Geld]]'' (“Borrowed Money”), later ''[[Die Poppehuis]]'', in Afrikaans – a dismal failure for De Groot, who had misjudged his audiences. She had a passion for theatre, and if a show failed, was prepared to eschew her honorarium for the translation. | + | She was the first secretary of the [[Afrikaanse Kultuurvereniging en Toneelskool]] established by [[Danie Smal]]. Notable for her translation of Südermann’s ''[[Heimat]]'' as ''[[Huis Toe]]'' ("Going Home") for [[Paul de Groot Toneelgeselskap|Paul de Groot]]’s first real professional and commercial success. She subsequently did numerous translations for De Groot and other producers, including [[Henrik Ibsen|Ibsen]]’s ''[[The Doll House]]'', initially called ''[[Geleende Geld]]'' (“Borrowed Money”), later ''[[Die Poppehuis]]'', in Afrikaans – a dismal failure for De Groot, who had misjudged his audiences. She had a passion for theatre, and if a show failed, was prepared to eschew her honorarium for the translation. |
Revision as of 06:21, 23 February 2017
Mrs A.E. Carinus-Holzhausen was a passionate supporter of the arts, a literary advisor and translator for the early Afrikaans theatre.
She was the first secretary of the Afrikaanse Kultuurvereniging en Toneelskool established by Danie Smal. Notable for her translation of Südermann’s Heimat as Huis Toe ("Going Home") for Paul de Groot’s first real professional and commercial success. She subsequently did numerous translations for De Groot and other producers, including Ibsen’s The Doll House, initially called Geleende Geld (“Borrowed Money”), later Die Poppehuis, in Afrikaans – a dismal failure for De Groot, who had misjudged his audiences. She had a passion for theatre, and if a show failed, was prepared to eschew her honorarium for the translation.
Sources
Binge, 1969.
Fletcher, 1994.
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