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INTRODUCTION contemporary creative nonfiction and poetry by authors who compose their literary texts in English as their second language (ESL). To add to the framework of literary code-switching proposed by Deganutti and Domokos, these instances are further examined for their co-occurrence with (weak?) or without (strong?) explications in the matrix language. Various functions show how additional layers of meaning and reference can be evoked through a poeticization of the author’s migration background. Reflections on code-switching in literary works are followed by a longer section dedicated to code-switching and multimodality in theater, film, music and performance. One of the most influential theater directors of our times, Robert Wilson, has always implemented very different verbal, cultural and artistic codes into his highly original performances. The chapter by Enikő Sepsi, Multilinguality in the Work of Robert Wilson, elaborates on how overt and covert multilinguality supports his transcultural artistic texture on the level of directing and performing. The first part of the study offers an overview of the texts, translations, or visuals used and their interlingual and intersemiotic code-switches manifested in the plays Wilson had previously directed. The second part of the study focuses on the interplay modes of the five languages used in one of his recent performances of Oedipus (Budapest, 2021). The past three decades have witnessed a series of retranslations of Shakespeare’s dramatic legacy in Hungary. In the chapter entitled Multimodal Transformations of A Midsummer Night’s Dream. Switching Verbal Codes into Audiovisual Codes for Dubbing Shakespeare into Hungarian, Judit Mudriczki discusses how recent translations meet the dramaturgical needs of both theaters and the film dubbing industry. Perhaps the first in this series was the 1992 retranslation of A Midsummer Night’s Dream, the most often adapted Shakespeare play in Hungarian theaters, by one of the most prolific translators, Adam Nadasdy. Commissioned by stage director Péter Gothar to renew the poetic but slightly archaic language of the canonical 19th century Hungarian translation by Janos Arany so that it becomes fit for use in his 1994 stage adaptation, in 1999 the same translation was revised and turned into the Hungarian dubbing script for the screen adaptation directed by Michael Hoffman. This choice contradicts the idea historically inherent in the Hungarian dubbing industry that the audiovisual translation of any adaptation of key cultural texts is expected to be based on those literary translations that have been considered as “the most canonical.” Mudriczki’s paper offers a case study of the transfer strategies that dubbing script writer Laszl6 Upor used while turning the text translated by Adam Nadasdy into a dubbing script under the audiovisual constraints of the film narrative. The purpose of Cultural Code-Switching. Variations on a Chekhovian Theme by László Cseresnyési is to share reflections on the Japanese movie Drive my car, directed by Hamaguchi Rytisuke, 2021, which was adapted from a short + 14°
