Rereescenes was born at the Translation and Interpreting School of the Autonomous University of Barcelona. During their last year there, Carme and Neus started translating plays driven by a deep personal interest. Once they graduated, both of them decided to spend a long time abroad, in England and France respectively. Although they continued training in different specialities, they never abandoned their pursuit of theatre, thus establishing an intense exchange of knowledge and experiences which, in 2013 and still on a long-distance basis, led to their first joint translation: The Price [El preu], by Arthur Miller, which opened at the Festival GREC 2016 with an audience of over 17,000 people; a success which led to a second run of the show in the summer of 2017. This project won a grant by the Institution of Catalan Letters – which recognises the task of translators who incorporate works of special relevance to the Catalan language – and allowed them to sign their first joint production contract.
From this point on, these translators grew professionally in the field of theatre: they signed important productions, both together (Splendour [Esplendor], by Abi Morgan, which also opened at the GREC 2016 directed by Carme Portacelli) and separately (Lungs [Pulmons], by Duncan Macmillan, which opened in 2014 at Sala Beckett directed by Marilia Samper; or The Nether [L’inframón], which opened at Teatre Lliure in the fall of 2016 directed by Juan Carlos Martel). Furthermore, they continued training through courses such as the Stage Translation Course offered by theatre Sala Beckett, in Barcelona. There, they had the chance to learn from one of the main theatre translators in the country, Joan Sellent, and to return the following year as guest speakers to give a lecture on tandem translations.
Currently, Carme and Neus keep broadening their skillset by incorporating the fields of production, artistic and literary assessment and support to the acting process; and, specially, by perfecting the crafts of translating and of working as a tandem while building a vast literary database. Their enthusiasm for discovering new styles and authors defines their work philosophy.
All plays begin on the backstage, and this is where translators live. Join us and discover its secrets!
neus bonilla benages
Neus holds a first-class degree in Translation and Interpreting (English and German into Catalan) by the Autonomous University of Barcelona in 2013. She spent her third year of studies at the Heriot-Watt University of Edinburgh, specialising in British Culture and Society and TESOL.
In 2013, back in Barcelona, she combined her last degree year with postgraduate studies in Proofreading and Language Quality Control at the same university. She also established her first contact with stage translation through an internship programme at the Teatre Lliure de Barcelona, where she translated Contractions [Contraccions], by British playwright Mike Bartlett. At the same time, she also learnt the proofreading craft at the textbook publishing house Teide. That same year, her curiosity for the French language and culture took her to Toulouse, in southern France, where she enrolled at the Jean Jaurès University, obtaining a degree in French Studies C2 that allowed her to immerse herself in French culture: literature, history, theatre, sociology... It was while living in la ville rose that Neus started working as a freelance translator and proofreader, and, most importantly, she started specialising in literary translation, although she also undertook numerous non-literary projects.
Also in 2013, Neus translated her first novel, Heart of Darkness [El cor de les tenebres], by Joseph Conrad, for the Catalan publishing house Base. In 2014, she moved back to Catalonia and continued collaborating with the Teatre Lliure and other venues and theatre companies by translating plays from English such as The Pride, by Alexi Kaye Campbell (2014); The Nether [L’Inframón], by Jennifer Halley, which opened at the Teatre Lliure in the fall of 2016, or L’Atélier [El cosidor], by Jean-Claude Grumberg, which was included in a series of dramatic readings at the Teatre Lliure in 2017.
Currently, Neus keeps combining her work as a translator and proofreader with her passion for learning, which brought her, in 2016, to take the course The Publisher's Job delivered by renowned publisher Silvia Querini at the Ateneu Barcelonès School.
![Llicenciada en Traducció i Interpretació a la Universitat Autònoma de Barcelona el 2012, amb l’especialitat d’interpretació, durant aquest mateix any obté el nomenament de traductora jurada i s’inicia en la traducció teatral amb una traducció parcial de l’obra What we did to Weinstein, de Ryan Craig. Després de completar una segona peça, The Winslow Boy [El cas Winslow], de Terence Rattigan (2012), la Carme es trasllada a Londres per impregnar-se de l’escena anglesa i decidida a trobar un text que pugui traslladar als escenaris catalans. És amb aquest afany que s’inscriu en un curs de dramatúrgia impartit per Duncan Macmillan al Soho Theatre; fet afortunat, ja que precisament es troba immersa en la traducció d’una obra d’aquest dramaturg, Lungs [Pulmons] (2013), la qual presenta a la Sala Beckett i acaba estrenant-se el 2014. També en aquesta època, la Carme publica diversos articles al digital Núvol, que tracten el teatre com a vehicle per exportar la cultura catalana al context anglo](https://static.wixstatic.com/media/35f11d_f91f073dff7b4cd1ae42582ce6fca0f9.jpg/v1/fill/w_160,h_107,al_c,q_80,usm_0.66_1.00_0.01,blur_3,enc_auto/35f11d_f91f073dff7b4cd1ae42582ce6fca0f9.jpg)
CARME CAMACHO PÉREZ
Carme obtained her degree in Translation and Interpreting at the Autonomous University of Barcelona in 2012, specialising in Interpreting. In the same year, she was appointed as a legal translator and started working on stage translation with the play What We Did to Weinstein, by Ryan Craig.
After completing her second play, The Winslow Boy [El cas Winslow], by Terence Rattigan (2012), Carme moved to London in order to learn from British theatre and with the goal of finding a play that she could bring to Catalan stages. With this aim in mind, she joined a playwriting course led by Duncan Macmillan at the Sotho Theatre - this turned out to be most convenient, as she had just started translating one of his plays: Lungs [Pulmons] (2013), which she sold to Sala Beckett, thus signing her first production in 2014. As well as this, Carme published several articles in the cultural magazine Núvol, all of them dealing with theatre as a way of introducing Catalan culture into English-speaking contexts. In line with this, she joined the theatre company Bots&Barrals as a production assistant and literary assessor.
Despite her intense activity in this field, Carmen kept working as a translator and proofreader and completed an MA in Accessibility and Filmmaking at the University of Roehampton with the qualification of Distinction. Along with a vast training in audiovisual and script translation, she got the chance of working in subtitling and audiodescription for the stage and of taking part in the design and implementation of several projects on theatre accessibility. Furthermore, for her dissertation she produced a unique audiovisual project which was awarded a Gerhard Weiler Prize and which is featured in numerous publications.
By the end of 2014, Carme returned to Catalonia, where she continued her work as a translator and proofreader and continued training in different aspects of theatre – for instance, with a production course at Nau Ivanow. She has worked as a producer for companies like CactusLove and Parking Shakespeare; with the latter, she translated Pornography, by Simon Stephens, which opened in 2017 directed by Iban Beltran. Currently, she keeps combining all the aforementioned aspects and is about to start her first project as assistant director with Les Mirones.