¿Qué significa traducir una forma de arte en vivo como es el teatro? 

¿Qué impacto tiene el contexto y la perspectiva local en su trabajo? 

¿Cómo podemos entender las raíces del colonialismo en el proceso de traducción del arte? 

Acompáñenos en una conversación bilingüe (español e inglés) con Bruce Gibbons Fell y Paula Zelaya Cervantes en la cual se sumergen en el proceso creativo de la traducción. Estes dos increíbles dramaturgues y traductores compartirán con el público las alegrías y las frustraciones de la traducción en diferentes contextos culturales. Con sus experiencias de traducción de las obras de Rosa Laborde, Hannah Moscovitch, Michel Tremblay y Christine Quintana, traerán una perspectiva muy única. (Más información sobre su experiencia profesional abajo.) 

Este es un evento online gratis via Zoom Webinar. Para registrarse por favor, haga click aquí:


Este evento está asociado a la presentación de Léo de Rosa Laborde, una obra que hace parte de la Tarragon Acoustic Series. Haga click aquí para comprar su entrada para escuchar el audio drama online:


El evento también será grabado y disponible para todes los registrades y les que tengan entradas para Léo.


What does it mean to translate a live art form like theatre?  

How does place and/or perspective impact your work? 

How do we understand the roots of colonialism in the work of translating art? 

Join us for a bilingual (Spanish + English) conversation between Bruce Gibbons Fell and Paula Zelaya Cervantes as they delve into the creative process of translation. An opportunity for these two incredible playwrights and translators to share the joy and frustration of translation within cultural contexts. Having worked on the translation of Rosa Laborde, Hannah Moscovitch, Michel Tremblay, and Christine Quintana they’re sure to bring an incredible perspective.  

This free event will be held online via Zoom Webinar a link to register is below. This webinar will be recorded and made available for all those who’ve signed up.


This event is in connection with the Tarragon Acoustic Series performances of Léo by Rosa Laborde. Click here to buy a ticket for the online audiodrama: 


Headshot of Bruce Gibbons Fell. Man with dark brown hair, beard and moustache stands in front of a hedge. He's wearing a colourful printed jacket.

Bruce Gibbons Fell is an award-winning playwright and translator. His work has been
showcased in Argentina. Canada, Chile, Cuba, the US, and the UK. Bruce studied Law
at Universidad de Chile and moved to Toronto in 2011, where his experience in
translating theatre began. In 2014, he curated and presented staged readings of Rosa
Labordé’s Leo, Carmen Aguirre’s The Refugee Hotel and Blue Box, in Chile’s Museum
of Memory and Human Rights, in a playreading cycle about Chilean exile. In 2015, he
was part of Aluna Theatre’s Interpretation Lab and resident at Playwrights’ Workshop
Montreal in Tadoussac. That year, Bruce participated in the adaptation and Cuban
premiere of Michel Tremblay’s Les-Belles Soeurs. His translation of Guillaume
Corbeil’s Nous voir nous had its premiere in Cuba in 2017.

In regards to plays staged at the Tarragon Theatre, Bruce was in charge of the subtitles
for Marine Life by Rosa Labordé and translated Abyss by Maria Milisavljevic for its
upcoming Chilean production.

Among his favourite translations: Santiago High Tech, by Cristián Soto, Estado
Vegetal by Manuela Infante, play excerpts for Women Playwrights International (2018),
Boca del Lupo’s Red Phone (Still Human by Susanna Fournier and Goodbye, My
Love by Keith Barker), and most recently, the Chilean premiere of The Christians by
Lucas Hnath. Bruce also works in creating surtitles for international theatre festivals
and translating film and TV scripts.

As a playwright, Bruce’s work in Canada has been showcased at the SummerWorks
Performance Festival (Paradise Red, 2014), Aluna Theatre’s CAMINOS, and the
Rhubarb Festival (Alabama, 2016, Empty Orchestra Dreamland, 2018/2019). From 2016
to 2018, he was artist-in-residence at Buddies in Bad Times Theatre, with his
upcoming play The Communist Manifesto for Children.

In Chile, Bruce won the 2015 Chilean National Playwriting Competition (Muestra
Nacional de Dramaturgia, with La Vida Terrestre de Nebraska), one of the country’s highest
recognitions for playwrights. He recently presented a workshop production of his play
Capuleto in Santiago, an interactive revisioning of Romeo and Juliet, exploring the
privileged body on stage in contrast with (the now cancelled poet) Pablo Neruda’s translation of
Shakespeare’s text. Bruce is currently Director of New-Play Development at Interdram
in Chile and is director of Residencia Dínamo, an international playwriting residency.


1991, Mexico City. Mexican playwright, screenwriter, director, and translator, Paula graduated from the University of British Columbia (UBC) in Vancouver, Canada, with a double major in Theatre and Honours English Literature (2014) and thanks to the support of the prestigious International Leader of Tomorrow Award scholarship, granted to only 13 students worldwide each year.


Paula wrote and directed The Orbweaver/El Hilador (Cento Cultural Teatro 2, Mexico City, 2018) (Centro Cultural Helénico, Mexico City, 2018) (Vancouver Fringe Festival International Mainstage Selection, 2016), which was awarded an EFITEATRO, Mexico´s Institute of Fine Arts most prestigious production grant for theatre; as well as the Vancouver Fringe’s Critics’ Choice Award for Best Play (2016) and Cartelera de Teatro’s Awards for Best Playwriting, Best Direction, Best Production Design, and Best Play (2018); and a Premio Metropolitano de Teatro for Best Movement and Choreography (2019). Other playwriting and directing credits include Sasha & Spot (Teatro el Galeón, Mexico City 2018), which was also awarded an EFITEATRO grant; and 245 Acts of Unspeakable Evil, which she co-wrote with Ana González Bello, and which premiered Off Broadway in 2017, and which will open in Mexico City in February 2021.


Paula recently directed and translated Hannah Moscovitch’s Little One, which opened via streaming in September 2020 (Foro Shakespeare & Cia); and will be translating and directing Nia Vardalos’ Tiny Beautiful Things (Teatro Milán, Mejor Teatro, 2020). With Diego del Río, she is currently under commission at Mexico’s National Theatre Company.


With Diego del Río, she also co-translated and co-adapted Tennessee William’s The Glass Menagerie (Centro Cultural Helénico, 2018) and co-adapted David Lindsay Abaire’s Good People. Other translation credits include Noah Haidle’s Rag and Bone (Lopez Tarso Theatre, Mexico City 2018); The Humans by Stephen Karam (2020), Sam Steiner’s Lemons Lemons Lemons Lemons (Teatro la Capilla, 2019); Dennis Kelly’s Girls & Boys; Neil Bartlett’s Or You Could Kiss Me, Will Eno’s Thom Pain (La Teatrería, 2019); Robert Icke’s and Duncan Macmillan’s adaption of George Orwell’s 1984 (Teatro Helénico, 2019); Simon Stephen’s Heisenberg (La Teatrería, 2017); and Margaret Edson’s Pulitzer-prize winning play Wit (Centro Cultural Helénico, 2017) (Teatro Milán, 2015). Her translation and adaptation of Stacey Gregg’s Scorch was part of Mexico’s British Council’s “Taking the Stage2019 programme.


Paula has received numerous awards and prizes for her academic and creative work, including UBC’s Philip Akrigg Shakespeare scholarship, UBC Theatre’s Jessie Richardson Award, and the Faculty of Arts International Student Scholarship. Her adaptation of Good People recently won “Best Translation” at Mexico´s Theatre Critics’ Association 2019 awards ceremony. Her play, 245 Acts of Unspeakable Evil, co-written with Ana González Bello, won the Latino National Playwright Award granted by the Arizona Theatre Company in 2018 and the Sharon Enkin Play for Young People Award granted by the Playwright’s Guild of Canada in 2019. In 2018, Paula and Ana were awarded one of five Scholarships for the Development of TV Series and Mini Series, granted by IMCINE (Mexico’s National Cinematography Institute).