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The Future of Translation

How can one ensure that translation accurately represents the original work? Is translation always necessary or possible? Join Janet Tamalik McGrath, Inuktut translator for Colleen Murphy’s The Breathing Hole, and Catriona Lexy Campbell, Scottish playwright who works primarily in Gaelic, as they unpack the challenges and advantages of translation within theatre. Together, they’ll explore translation from dominant to Indigenous languages (and vice versa), as well as the possibility of working together to produce artistically in a richer way.

Thurs, January 24th, 2019

11am ET
4pm GMT

International Webinars are organized by Playwrights Guild of Canada, Playwrights' Studio, Scotland, Playmarket in New Zealand and Playwriting Australia.

*Webinars are open and free to members of the above organizations. Find out more about the benefits of membership with the Playwrights Guild of Canada!

**An email will be sent out to all registered participants nearer to the event date with instructions on how to view the webinar!

About the Facilitators:

Janet Tamalik McGrath

Janet grew up in the 1970s in Nunavut and learned to bridge English and Inuktut at a young age. There were also two very differing dialects in her hometown of Taloyoak (Talurjuaq), Nunavut: Nattilingmiutut and Kinngarmiutut (South Baffin, Cape Dorset). Back then the two dialects had very little in common except language structure and some common nouns and verbs. She learned Nattilingmiutut fluently by living as a child in summer fishing and sealing camps in Nattilik and Nattiqhiurvik with families who spoke no English. In town and school, both Nattilingmiut and Kinngarmiut dialects were spoken.

As a teenager, she went 800 miles south to Yellowknife for high school. While still in school was hired and trained by the Department of Information, NW.T. government to interpret for the first Legislative Assembly of the N.W.T. (1979). Following that, she worked as a Nattilingmiutut specialist out of Cambridge Bay headquarters, working also with Inuinnaqtun specialists for regional Inuktut language development.

In the ensuing decades, she then worked freelance and specialized in transcribing Inuktut audio recordings and translating them into English (oral traditions). She worked with Kivalliq dialects as well as North Baffin, in addition to the Central Arctic where she is from. Prominent works include Iqalurait: An Oral History of Nunavut, (McGill-Queens University Press, 2004, eds John Bennett and S. Rowley), and her own book The Qaggiq Model (NAC Media, Iqaluit, 2018), which is based on six hours of conversation with Inuk elder philosopher Mariano Aupilarjuk (Nattilingmiut parentage, Kivalliq speaker). This work was a PhD dissertation and defended in separately in Inuktut and English, 2011. As well, she is currently working on a collection of 25 hours of recordings to publish from her Masters degree fieldwork, based on conversations with Nattilingmiut elders on conflict and change (when moving off the land into community housing in the 1960s). The material is organized such as to be used for Nattilingmiutut language enhancement tools for youth in the Nattilik region, as well as for fluent speakers. The topic inuuqatigiittiarniq, the principles of collective wellbeing are also of current importance in Nunavut for culturally relevant approaches to health, education, economic development, justice, and governance.

She completed her B.A. in theatre and Russian at Brock University, (’94) collaborating in student plays with a focus on educational drama.

Tamalik means “has both” in Inuktut. She was named ‘Janet’ after both aunt Janet’s (paternal and maternal), she gave birth to both a boy and a girl (twins): she stands in the middle, shares the view and offers a bridge.

Catriona Lexy Campbell

Catriona Lexy Campbell has worked as a theatre artist, actor and writer for many years, primarily in her native Gaelic. She was the first Gaelic Associate Artist with the National Theatre of Scotland in 2011 and her first radio play for the BBC, based on her novel Samhraidhean Diomhair, was broadcast in December 2012. She was the Writer in Residence at Sabhal Mòr Ostaig in 2013. Her first play, Doras Dùinte, was produced by Theatre Gu Leòr and toured in 2014. Her second play was a stage adaptation of her father, Tormod Caimbeul’s novel, Shrapnel, and toured Scotland in March 2016. She has delivered workshops in drama and creative writing to young people across Scotland for organisations including Fèisean nan Gàidheal, TAG Theatre, Glasgow Life, Storlann, The Gaelic Books Council and Theatre Gu Leòr.

Tha Catriona Lexy Chaimbeul air obrachadh mar neach-ealain dràma, cleasaiche agus sgrìobhadair airson iomadach bliadhna, ann an Gàidhlig mar as àbhaist. B’ i a’ chiad Neach-ealain Gàidhlig aig Theatar Nàiseanta na h-Alba ann an 2011 agus bha an dealbh-chluich a sgrìobh i airson a’ BhBC, steidhichte air a’ chiad nobhail aice, Samhraidhean Dìomhair, air an rèidio ann an 2012. B’ i a’ Sgrìobhadair air Mhuinntearas aig Sabhal Mòr Ostaig ann an 2013. Bha a’ chiad dealbh-cluich aice, Doras Dùinte, air a riochdachadh le Theatar Gu Leòr agus air chuairt ann an 2014. Chaidh an dàrna dealbh-chluich aice, ath-chrthachadh airson a’ stèids de nobhail a h-athair Tormod Caimbeul, Shrapnel, air chuairt sa Mhàirt 2016. Tha i air bùithean-obrach ann an dràma agus sgrìobhadh cruthachail a leasachadh airson iomadach buidheann leithid Fèisean nan Gàidheal, TAG Theatre, Glaschu Beò, Stòrlann, Comhairle nan Leabhraichean agus Theatre Gu Leòr ag obair le sgoilearan air feadh Alba.

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