handout lez. 1 - Omero

Laurea Magistrale TLS
a.a. 2012-13
Letteratura inglese – modulo B (prof. Sara Soncini)
8 ottobre 2012
LA TRADUZIONE DEL TESTO DRAMMATICO:
PROBLEMI E SPECIFICITÀ
Multimedialità
Testo multimediale = un prodotto comunicativo la cui realizzazione presuppone l’azione
contemporanea di diversi media e, di conseguenza, l’attivazione simultanea di almeno due canali
di percezione da parte del fruitore.
Traduzione multimediale = elaborazione complessiva di un prodotto multimediale non solo sotto il
profilo linguistico, ma in tutte le sue componenti.
(Heiss 1996)
Drama text vs. performance text
The theatre does not necessarily use dramatic texts, and dramatic texts can also exist outside
theatrical systems. Although drama and theatre are interrelated concepts, they have to be kept
separate as they do not refer to the same phenomenon. (Aaltonen 2000: 4)
Specificità della comunicazione teatrale
Serpieri (1978): “parola quadrata”
Serpieri (2001):
a) referenzialità
> la parola sulla scena, la parola detta dai personaggi, si colloca in un contesto spazio-temporale
cui continuamente si riferisce per questo o quell’altro suo aspetto.
V. Herman, 1995: “situated language”
Esempio di deissi radicale iscritta nella parola teatrale (Serpieri 2001)
Polonius: Take this from this if this be otherwise
(Hamlet II.2.157)
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Spiccate questa da questo,
se le cose non stanno come
dico io.
(Eugenio Montale, 1949)
Spiccate questa da queste, se
questo sta in altro modo.
(Alessandro Serpieri, 1980)
Staccatemi la testa dal collo se
è altrimenti.
(Agostino Lombardo, 1995)
b) performatività
> la parola teatrale è sempre un ‘atto linguistico’, in quanto informa, comanda, insinua, afferma,
nega, subisce, aggredisce… con ciò modificando la situazione scenica e facendo progredire
l’azione.
Cfr. Herman (1995): utterances in dramatic dialogue are ‘speech events […] forms of social and
interpersonal action […] and not just a collection of sentences invested with ‘meaning’ in the
abstract. Thus, not just the meaning of what is said, but its place and function within the wider
units of which it is a part, and the possible reasons for its use by its users, in context, are also
significant when the play of utterances is regarded as forms of action, and contextualized and
particularized action at that. (pp. 13-14)
Speech […] is produced by someone, for or to someone, in time and space. […] It is not only
meaningful but performative, actional.
Virtualità scenica e ‘performability’
Hale and Upton 2000:
“A translation […] implicitly or explicitly contains the framework for a particular mise en scène”.
Lombardo 1987:
[anche qualora non si traduca in vista di un particolare spettacolo] “il traduttore deve pur sempre
far vivere il testo su un palcoscenico della mente, diventando per così dire il regista di se stesso”.
Johnston 1996:
traduzione come estensione della stagecraft
Johnston (2000b) > transubstantiation
It is now commonly accepted amongst those who translate drama that the translator has a
responsibility for enabling the play to be reconcretized as a play rather than for solely translating
the words as text. […]Such transubstantiation of the literal original will clearly arise from the need
to negotiate culture-specific icons, motifs, discourses, speech-patterns, and the like, but also,
perhaps more intangibly, from the requirement to ensure that the impact and range of meanings
implicit in the original, and which are only fully decoded through performance, may be similarly
decoded in English-language performance.
Bassnett 1998:
If the written text is merely a blueprint, a unit in a complex of sign systems including paralinguistic
and kinetic signs, and if it contains some secret gestic code that needs to be realised in
performance, then how can the translator be expected not only to decode those secret signs in
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the source language, but also to re-encode them in the target language? […] To do such a thing a
translator would not only have to know both languages and theatrical systems intimately, but
would also have to have experience of gestic readings and training as a performer or director in
those two systems.
traduzione del testo drammatico = “the interlingual transfer of a piece of writing”
> collocazione del traduttore
Theatrical production embodies and enacts the cultural markers within the text in a concrete
physicalization which precludes indeterminacy. Cultural milieu is embodied in the specifics of any
or all of the signifying elements (actors’ physical appearance, gesture, set, costume, lighting,
sound, kinesics, proxemics, etc.), as well as in the spoken word. (Hale and Upton 2000: 7)
> dimensione “locale” dell’arte teatrale
Because of its close ties with the specific conditions of performance, theatre has in all times and
places been strongly aware of its responsibility to relate to a particular audience. Indeed it may be
said on these grounds to be the most local of the arts. The great majority of the world’s drama has
been created by dramatists who were working with a specific audience in mind, and not
uncommonly dramatist and audience shared not only a common language, but often a highly
specialized language unique to theatrical communication. They not only shared a common
language in this standard sense of the world, but a wide variety of the other “languages of the
stage” that semiotic theatre has brought to our attention – particularly theatrical conventions,
acting styles, and the potential meanings of each aspect of production, from the theatre building
to the smallest particular gesture. This general characteristic of theatre is intensified by its close
relationship with language (indeed with spoken language), making the matters of locality and
specificity clearly more central than they are in an abstract art like dance.
[…] This feature is reinforced by the fact that, although a society may possess considerable cultural
diversity, the audiences that have attended particular theatres have generally been distinctly less
heterogeneous than the society that surrounds them. Moreover the theatre has often, consciously
or unconsciously, been seen and employed as an instrument of cultural and linguistic
solidification.
(Carlson 2006: 3)
> La traduzione teatrale comporta una riduzione della gamma dei significati possibili rispetto alla
traduzione drammatica?
While much is added to the drama text in any performance, the polysemic range of the dramatic
dialogue becomes narrower in performance simply by being spoken. […] In another sense,
however, the performance text has a much wider polysemic range than the drama text, by virtue
of its constant interaction between verbal and non-verbal elements (Törnqvist 1991: 2).
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Fonti citate:
Aaltonen S., 2000, Time-Sharing on Stage: Drama Translation in Theatre and Society, Clevedon:
Multilingual Matters.
Bassnett S., 1998, “Still Trapped in the Labyrinth: Further Reflections on Translation and Theatre”,
in Constructing Cultures, pp. 90-108.
Carlson, M., Speaking in Tongues: Languages at Play in the Theatre, Ann Arbor, U of Michigan P,
2006
Hale, T., Upton, C.-A., 2000, “Introduction”, in Upton C.-A., Moving Target. Theatre Translation
and Cultural Relocation, Manchester: St. Jerome, pp. 1-13.
Heiss C., 1996, “Il testo in un contesto multimediale”, in Heiss C., R. M. Bollettieri Bosinelli (eds.),
Traduzione multimediale per il cinema, la televisione e la scena, Bologna: CLUEB, pp. 13-26.
Herman V., 1995, Dramatic Discourse. Dialogue as Interaction in Plays, London/New York,
Routledge.
Johnston D., 1996, “Text and Ideotext: Translation and Adaptation for the Stage”, in M. Coulthard
et al., The Knowledges of the Translator, Lewiston, Queenston and Lampeter: Mellen, pp.
243-258.
Johnston D., 2000b, “Valle-Inclán: The Meaning of Form”, in Upton C.-A., Moving Target. Theatre
Translation and Cultural Relocation, Manchester: St. Jerome, pp. 85-99.
Lombardo A., 1987, “Tradurre La Tempesta”, in Mettere in scena Shakespeare, Parma: Pratiche,
pp. 91-104.
Pavis P., 1998, “Traduzione per il teatro”, in Dizionario del teatro, ed. italiana a cura di P. Bosisio,
Bologna, Zanichelli, pp. 494-498.
Serpieri A. et al., 1978, Come comunica il teatro, Milano: Il Formichiere.
Serpieri A., 2001, “Tradurre per il teatro”, in Zacchi R., Morini M. (eds.), Manuale di traduzioni
dall’inglese, pp. 64-75.
Törnqvist E., 1991, Transposing Drama, London: Macmillan.
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