Calderon de la Barca's dramatic polymetry in Natalia Vanhanen's translations (“No hay cosa como callar” and “La vida es sueno”)
The paper presents the results of a comparative metrical analysis of Calderon de la Barca's polymetric dramas “No hay cosa como callar” and “La vida es sueno” and their translations into Russian by Natalia Vanhanen. The dramas premiered on September 1, 2003 (“No hay cosa como callar”, Soprichastnost' Theater, Moscow) and on October 16, 2021 (“La vida es sueno”, Stanislavsky Electrotheatre, Moscow). They appeared in-print at the end of 2021 when the Rudomino publishing house published a book containing both translations (Moscow, 2021). We examine the selection of meters in Vanhanen's translations in the context of the history of Calderon's translations into Russian and in comparison with previous experiments in rendering the poLymetry of Spanish theater: verse translations by Sergey Kostarev (1861), Konstantin Balmont (1900-1919), Valentin Parnach (1949), Inna Tynianova (1961), and Mikhail Donskoy (1983). The present study shows how diverse the implementation of the equimetric principle can be when Russian translators work with the Romance syllabic verse.