Situated at the crossroads of past and present, as well as Translation Studies and Theatre Semiotics, the book Theatre Translation: A Practice as Research Model provides a diachronic appraisal of an age-old activity and a burgeoning academic subject. This book by Angela Tiziana Tarantini builds on the topic of theatre translation in performance theorized and discussed about ten years earlier (Bigliazzi et al., 2013). In this book, Tiziana Tarantini empirically investigates the effects of translation on two distinct elements of performance: rhythm and gesture. Regarding the textual and source-bound bias of translators for years, and among flourishing product and process-oriented research in Theatre Translation Studies (e.g. Marinetti, 2007; Marinetti & Rose, 2013), performance research in translation appears to be the most unnoticed by translation scholars. Fischer-Lichte et al. (2014) state that viewing theatre as a performance means considering the relationship between actors and audiences. The spectators perceive the actors’ actions and respond to them as they move around and perform in a specific space. In other words, performance research is the entire interplay between what occurs on stage and the responses of the audience.

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