{"id":4362,"date":"2009-09-01T13:28:03","date_gmt":"2009-09-01T11:28:03","guid":{"rendered":"https:\/\/henningbochert.de\/?page_id=4362"},"modified":"2025-07-28T10:36:33","modified_gmt":"2025-07-28T08:36:33","slug":"translating","status":"publish","type":"page","link":"https:\/\/henningbochert.de\/en\/translating\/","title":{"rendered":"Translations"},"content":{"rendered":"\n

Please write me at henning@bochert.com<\/a>, if you are interested in reading any of the texts below.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\n

Drama<\/strong><\/p>\n\n\n\n

andcompany&Co<\/strong>
West in Peace
Mausoleum Buffo
Pand\u00e4monium Germanicum<\/p>\n\n\n\n

Deepika Arwind<\/strong>
Phantasmagoria \/ Phantasmagorie<\/p>\n\n\n\n

John Barrow<\/strong>
Excentric Planet \/ Exzentrischer Planet<\/p>\n\n\n\n

Sivan Ben Yishai<\/strong>
Your very own double crisis club
[Auswahl Autorentheatertage 2017; excerpt in Jalta 05<\/a>]<\/p>\n\n\n\n

George Brant<\/strong>
Grounded \/ Am Boden<\/p>\n\n\n\n

Dead Centre & Mark O’Connell<\/strong>
To be a machine (version 1.0) \/ Die Maschine in mir (Version 1.0)<\/p>\n\n\n\n

\u00d6zlem \u00d6zg\u00fcl D\u00fcndar<\/strong>
an grenzen \/ body w\/o borders<\/p>\n\n\n\n

Patrick Ellsworth<\/strong>
Dancer in the Dark<\/a><\/p>\n\n\n\n

Simon Froehling<\/strong>
Familie Kern \/ The Core Family<\/p>\n\n\n\n

Trevor Griffiths<\/strong>
Who Shall Be Happy\u2026? \/ Hoffnung im Jahre II<\/p>\n\n\n\n

Jim Grimsley<\/strong>
Cascade \/Kaskaden<\/p>\n\n\n\n

Jason Grote<\/strong>
Civilization \/ Zivilisation<\/p>\n\n\n\n

Martin Heckmanns<\/strong>
Kommt ein Mann zur Welt \/ A Man Walks into a World (in: The Mercurian Vol. 3, No.4<\/a>)<\/p>\n\n\n\n

Christoph Hein<\/strong>
Ritter der Tafelrunde \/ Knights of the Round Table<\/a>
In Acht und Bann \/ Banned<\/p>\n\n\n\n

Dawn King<\/strong>
The Trials \/ Das Tribunal<\/a>
A Brilliant Design \/ Alles wie es sein soll<\/a><\/p>\n\n\n\n

Girish Karnad<\/strong>
Yayati<\/p>\n\n\n\n

Lorenz Langenegger<\/strong>
Nordw\u00e4rts \/ Northward Bound<\/p>\n\n\n\n

Ingrid Lausund<\/strong>
Bandscheibenvorfall \/ Slipped Disc<\/p>\n\n\n\n

Eve Leigh<\/strong>
Midnight Movie<\/a>
Wildfire Road<\/a>\/Fl\u00e4chenbrand
Salty Irina\/Verbranntes Land<\/a>
Pinocchio<\/p>\n\n\n\n

Rhea Leman<\/strong>
Arendt<\/a><\/p>\n\n\n\n

Greg Liakopoulos<\/strong>
Generation Lost<\/p>\n\n\n\n

Wolfgang Lotz<\/strong>
Einige Nachrichten an das All \/ A Few Messages to Space<\/p>\n\n\n\n

Karen Malpede<\/strong>
Other Than We \/ Anders als wir<\/p>\n\n\n\n

Tina M\u00fcller<\/strong>
Gl\u00fcckshaut \/ Caul<\/p>\n\n\n\n

Carlos Murillo<\/strong>
A Human Interest Story (or The Gory Details and All) \/ Vermischte Meldungen (oder Die ganzen blutigen Details)
Dark Play or Stories for Boys \/ Dark Play oder Jungsgeschichten<\/p>\n\n\n\n

Jimmy Murphy<\/strong>
Brothers of the Brush \/ Schwarzmaler<\/p>\n\n\n\n

Iddo Netanjahu<\/strong>
A Happy End \/ Happy End<\/p>\n\n\n\n

Dan O’Brien<\/strong>
The Body of an American<\/p>\n\n\n\n

Eliza Power<\/strong>
Feathers \/ Federlesen<\/p>\n\n\n\n

Adam Rapp<\/strong>
Classic Kitchen Timer \/ Eieruhr
Finer Noble Gases \/ Der Duft der gro\u00dfen weiten Welt<\/a>
Red Light Winter \/ Rotlichtwinter
Stone Cold Dead Serious<\/a>
Blackbird \/ Wintervogel<\/a><\/p>\n\n\n\n

Damian Rebgetz<\/strong>
The Hooks<\/p>\n\n\n\n

Neil Simon<\/strong>
God’s Favorite \/ Gottes Liebling<\/a><\/p>\n\n\n\n

Nassim Soleimanpour<\/strong>
Blank<\/a><\/p>\n\n\n\n

Darja Stocker<\/strong>
Bevor es regnet \/ Before the Rain<\/p>\n\n\n\n

Andrea Stolowitz<\/strong>
Ithaka<\/p>\n\n\n\n

Bernhard Studlar<\/strong>
iPlay (in: The Mercurian Vol. 5, No.3<\/a>)<\/p>\n\n\n\n

Jill Szuchmacher<\/strong>
Yield \/ Virus<\/p>\n<\/div>\n\n\n\n

\n

Supertitles (partial list)<\/strong><\/strong><\/p>\n\n\n\n

Respublica<\/strong>
->DE, M\u00fcnchner Kammerspiele 2022<\/p>\n\n\n\n

How to Fail as a Popstar <\/strong>
->DE, Gastspiel Vivek Shraya, Theaterformen 2022<\/p>\n\n\n\n

Der Revisor <\/strong>
->DE, Gastspiel Kidd Pivot, Theater Freiburg 2022<\/p>\n\n\n\n

Deep Present <\/strong>
->DE, Politik im Freien Theater<\/p>\n\n\n\n

Lokis <\/strong>
-> DE, Festival Theaterformen 2019, Staatstheater Hannover<\/p>\n\n\n\n

O que nao acontece <\/strong>
-> DE, Festival Theaterformen 2018, Staatstheater Braunschweig<\/p>\n\n\n\n

Open the Owl <\/strong>
-> DE, Puppentheater Ljubljana\/Puppentheater Magdeburg 2018<\/p>\n\n\n\n

Hedda Gabler <\/strong>
-> EN, Ostermeier\/schaub\u00fchne<\/p>\n\n\n\n

Fr\u00e4ulein Julie <\/strong>
-> EN, Ostermeier\/teatr.doc<\/p>\n\n\n\n

Schiff der Tr\u00e4ume <\/strong>
-> DE, Karin Beier\/Theatertreffen Berlin 2016<\/p>\n\n\n\n

Poe’s Haunted Palace <\/strong>
-> DE, Tiger Lillies\/Puppentheater Magdeburg 2018<\/p>\n\n\n\n

Ubu and the Truth Commission <\/strong>
-> DE, William Kentridge\/Foreign Affairs 2016<\/p>\n\n\n\n

The Gabriels 1, 2 und 3 <\/strong>
-> DE, Richard Nelson\/F.I.N.D.-Festival Schaub\u00fchne 2017<\/p>\n\n\n\n

Kl\u0105twa\/Der Fluch <\/strong>
-> DE, Oliver Frlji\u0107\/Maxim-Gorki-Theater 2017<\/p>\n\n\n\n

<\/div>\n\n\n\n

Subtitles<\/strong><\/strong> (Partial list)<\/p>\n\n\n\n

Thi Mai<\/p>\n\n\n\n

When We First Met<\/p>\n\n\n\n

Maggie and Bianca<\/p>\n\n\n\n

Ben 10<\/p>\n\n\n\n

Young Justice<\/p>\n\n\n\n

Comedians in Cars Getting Coffee<\/p>\n\n\n\n

I’m in Love with a Churchgirl<\/p>\n\n\n\n

Barbra… The Music… The Mem’ries… The Magic!<\/p>\n\n\n\n

The Little Rascals<\/p>\n\n\n\n

Ka\u00e7ak<\/p>\n\n\n\n

Star Trek: Voyager<\/p>\n\n\n\n

I Am Your Father<\/p>\n\n\n\n

Kill Ratio<\/p>\n\n\n\n

A\u015fktan Ka\u00e7\u0131lmaz\/Can’t Run From Love<\/p>\n\n\n\n

Entrapment<\/p>\n<\/div>\n\n\n\n

\n

Feature film<\/strong><\/strong><\/p>\n\n\n\n

Morgenland <\/strong>
In Good Company, Ross Duncan<\/p>\n\n\n\n

Thank You For Banking With US<\/strong><\/a>
In Good Company, Laila Abbas<\/p>\n\n\n\n

The Delegation<\/a> <\/strong>
In Good Company, Asaf Saban<\/p>\n\n\n\n

Tschiller: Off Duty <\/strong>
Syrreal Entertainment, Christoph Darnst\u00e4dt<\/p>\n\n\n\n

Old Iron <\/strong>
Ivan Lovric, Oliver Kacarevic<\/p>\n\n\n\n

Reincarnation <\/strong>
Rheingold Films, Tomy Wigand<\/p>\n\n\n\n

Die Liste<\/strong>\/The List<\/strong>
Klaus H\u00fcttmann<\/p>\n\n\n\n

Lucky and the Hitman <\/strong>
Hartmann Schmige<\/p>\n\n\n\n

Ever after<\/p>\n\n\n\n

Dance with me<\/p>\n\n\n\n

Lake Placid<\/p>\n\n\n\n

The Good Girl<\/p>\n\n\n\n

The Transporter<\/p>\n\n\n\n

Life Or Something Like It<\/p>\n\n\n\n

Zero Effect<\/p>\n\n\n\n

Dancer, Texas<\/p>\n\n\n\n

Krippendorf’s Tribe<\/p>\n\n\n\n

Never Tell Me Never<\/p>\n\n\n\n

Knock Off<\/p>\n\n\n\n

Lost in Space<\/p>\n<\/div>\n\n\n\n

\n

Fiction (partial list)<\/strong><\/strong><\/p>\n\n\n\n

Susan Glaspell<\/strong>
Die Rose im Sand (D\u00f6rlemann 2023, ISBN 978-3-03820-134-2)<\/p>\n\n\n\n

Gomolemo Moagi<\/strong>
Poems (for translationale berlin 2023)<\/p>\n\n\n\n

Coumba Tour\u00e9<\/strong>
Languages
Time for Divorce<\/p>\n\n\n\n

Saskia Vogel<\/strong>
Ways of Submission (in “texthelden – berlin setzt \u00fcber”, stadtsprachen – Berliner Literarische Aktion, ISBN 978-3-00-071100-8)<\/p>\n\n\n\n

<\/div>\n\n\n\n

Non-fiction <\/strong><\/strong>(partial list)<\/p>\n\n\n\n

Sivan Ben Yishai<\/strong>
Interview<\/strong> Spiegel Magazine<\/a> of 16\/10\/2023
H\u00f6rt auf die Leerstellen <\/strong>(in “Das Gl\u00fcck, zu sprechen, ohne zu wissen, mit wem<\/a>“, ISBN 978-3-89581-593-5 )<\/a><\/span><\/p>\n\n\n\n

The Ground We Stand On<\/strong>
We see you White American Theater (Theater heute, 07\/2020, ISSN 0040-5507)<\/p>\n\n\n\n

Shahid Nadeem<\/strong>
Botschaft<\/a> zum Welttheatertag 2020 (International Theatre Institute Germany)<\/p>\n\n\n\n

Jens Van Lathem<\/strong>
Entry, Duration of Stay, and Guarantee of Return (Jahrbuch 2018<\/a> Internationales Theaterinstitut Deutschland)<\/p>\n\n\n\n

Clementine Ewokolo Burnley<\/strong>
The future of African Literature in Berlin, and elsewhere<\/a> (Keynote Stadtsprachen LCB 2018)<\/p>\n\n\n\n

Jan Brokof<\/strong>
Tropical Healing<\/a> (Aufs\u00e4tze, Salz-Verlag 2017, ISBN 978-3-943016-76-5)<\/p>\n\n\n\n

Dr. Eva Illouz<\/strong>
Sexual Freedom and the Rise of Uncertainty\/Sexuelle Freiheit und das Aufkommen der Unsicherheit (Dresdner Reden 2017)<\/p>\n\n\n\n

Dr. Mladen Dolar<\/strong>
The Quality of Mercy is not Strained (Essay zur Gnade in Shakespeares “Kaufmann von Venedig”; Goethe-Institut Ljubljana)<\/p>\n\n\n\n

Vladimir Arsenijvi\u0107<\/strong>
Die \u00dcbermacht der menschlichen G\u00fcte (in: spritz \/ sprache im technischen Zeitalter 218, ISBN 978-3-412-50601-8)<\/p>\n\n\n\n

Stephen Greenblatt<\/strong>
The Survival of Dangerous Ideas (Dresdner Reden 2013)<\/p>\n\n\n\n

The Urban Sacred<\/strong>
Essays von Prof. Birgit Meyer, Prof. Kim Knott, Prof. Volkhard Krech, Dr. Susanne Lanwerd, Dr. Steph Berns, Dr. Daan Beekers zu Religion und Architektur\/Katalog zur gleichnamigen Ausstellung (Universit\u00e4t Bochum 2016)<\/p>\n\n\n\n

National Archive Malaysia<\/strong>
Protokoll der \u201eBaling Talks\u201c (Festival Theaterformen 2016)<\/p>\n\n\n\n

Mark Long<\/strong>
Favelas: architecture of survival. <\/em>The photographs of Pedro Lobo (WALL 2016)<\/p>\n\n\n\n

\u00c2ngela Magalh\u00e3es \/ Nadja Fonseca Peregrino<\/strong>
Poetics of a landscape. The photographs of Pedro Lobo (WALL 2016)<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Please write me at , if you are interested in reading any of the texts below. Drama andcompany&CoWest in PeaceMausoleum BuffoPand\u00e4monium Germanicum Deepika ArwindPhantasmagoria \/ Phantasmagorie John BarrowExcentric Planet \/…<\/p>\n","protected":false},"author":9,"featured_media":0,"parent":0,"menu_order":5,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-4362","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/pages\/4362","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/comments?post=4362"}],"version-history":[{"count":4,"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/pages\/4362\/revisions"}],"predecessor-version":[{"id":13778,"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/pages\/4362\/revisions\/13778"}],"wp:attachment":[{"href":"https:\/\/henningbochert.de\/en\/wp-json\/wp\/v2\/media?parent=4362"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}