Proceedings - Translation Concepts

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MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Sara Ramos Pinto SUBTITLING - Apostrophe indicating the fall of a vowel Se ‘tá pior é sinal que ‘tá quase a parar. [Se está pior é sinal que está quase a parar] THEATER TRANSLATIONS - Change of the vowel quality Iagora quim é q’mas paga? [e agora quem é que me as paga?] - Monothongization Dâxo lá falare. [Deixe-o lá falar] - Metathesis Num foi pru male. [Não foi por mal] - Nasalization of the vowel in the beginning of the word Tome lá as fulôres por seis pences e inté pode lebar o cesto! [Tome lá as flores por seis pences e até pode levar o cesto] Fig. 2 Examples of graphical features present in subtitling and theater translations A possible motivation for this may be found in the technical limitations discussed above - all the translators work with stereotypes in their search for formal mimicry; nevertheless, in subtitling, factors like exposure time, legibility and readability become very important. In the cases presented here, it seems that the translators decided for features easy to read and to understand, which would not attract the public’s attention. This hypothesis seems to be confirmed by the kind of lexical and morphosyntactic features that the translators opted for. However, translations oriented for performance always presented higher percentages in these categories. Different studies (Aaltonen 1997; Mateo 1995) have already shown us that theater translation tend more to the extreme of acceptability than to adequacy. As discussed before, the oral discourse must be acceptable to the target culture’s oral discourse conventions, and since it is ephemeral, it must outlive any resistance to a foreign culture. As expressed by Mateo “complete understanding of a play is possible only if information supplied by the text and knowledge of the audience supplement each other” (Mateo 1995: 23). The moment of communicating is too fast to allow for any 'noise' on the channel like unfamiliar linguistic structures or vocabulary. The fact that the source text is completely erased from stage, i.e., that the public does not have access to the source text (unlike subtitling), can explain the high frequency of substandard features. If in subtitling these can be seen as unnecessary redundancies in relation to the audio output, in theater they will certainly be an important element of the plot and a form of comic in the production – after all both plays are comedies. 7 Concluding remarks It seems that the initial hypothesis is supported by the results of the study - different media call for different translation strategies not only relative to the constraints they require but also because different functions lead the translator to set different priorities and to realize them in different ways. 64
MuTra 2006 – Audiovisual Translation Scenarios: Conference Proceedings Sara Ramos Pinto 8 References Aaltonen, Sirkku (1997): Acculturation of the Other: Irish Milieux in Finish Drama Translation. Joensu: University of Joensu Publications in the Humanities. Bassnett, Susan (1990): ‘Translating for Theater - Textual Complexities’. In Essays in Poetics 15(1). 71-83. Brisset, Annie (1996): A Sociocritique of Translation: Theater and Alteriry in Quebec, 1968- 1988. Trans. Gill Rosalinde & Gannon, Roger. Toronto: University of Toronto Press. Brodovich, Olga (1997): ‘Translation Theory and Non-Standard Speech in Fiction’. In Perspectives: Studies in Translatology 5:1. 24-31. Cronin, Michael (1996): Translating Ireland. Translation of the English Language. Cambridge: Cambridge University Press. Dimitrova, Birgitta (1997): ‘Translation of Dialect in Fictional Prose - Vilhelm Moberg in Russian and English as a Case in Point’. In Johan Falk (ed.): Norm Variation and Change in Language. Proceeding of the Centenary Meeting of the Nyfilologiska Sällskapet Nedre Manilla 22-23 March 1996. Stockolm: Almquist & Wiksell International. 49-65. Espasa, Eva (2000): ‘Performability in Translation: Speakability? Playanility? Or just Saleability?’. In Upton, Carole-Anne (ed.): Moving Target: Theater Translation and Cultural Relocation. Manchester: St. Jerome Publishing. 49-62. Gottlieb, Henrik (1992): ‘A New University Discipline’ In Dollerup, Cay & Lodegaard, Anne (eds): Teaching Translation and Interpreting: Training Talent and Experience. Amsterdam: John Benjamins. 161-170. Hickey, Raymond (2000): ‘Salience, stigma and standard’. In Wright, Laura (ed.): The Development of Standard English 1300-1800: Theories, Descritipon, Conflicts. Cambridge: University of Cambridge. 57-72. Leppihalme, Ritva (2000): ‘Päätalo Idioms and Catchphrases in Translation’. In Erikoiskielet já käännösteoria. VAKKI-symposiumi XX. Vaasa: University of Vaasa. 224-234. Luyken, Geong-Michael (1991): Overcoming Language Barriers in Television Dubbing and Subtitling for the European Audiences. Manchester: The European Institute for the Media. Marco, Josep (2002): ‘Teaching Drama Translation’. In Perspectives: Studies in Translatology 10:1. 51-68. Mateo, Marta (1995): ‘Translation Strategies and the Reception of Drama Performances: a Mutual Inflence’. In Snell-Hornby, Mary & Jettmarová, Zuzana & Kaindl, Klaus (eds): Translation as Intercultural Communication. Amsterdam: John Banjamins. 99-110. Rosa, Alexandra Assis (2001): ‘Features of Oral and Written Communication in Subtitling’. In Gambier, Yves & Gottlieb, Henrik (eds): (Multi)Media Translation. Concepts, Practices and Research. Amsterdam: John Benjamins. 213-221. Rosa, Alexandra Assis (2004): Tradução, Poder e Ideologia: Retórica Interpessoal no Diálogo Narrativo Dickensiano em Português (1950-1999) [PhD Thesis]. Lisbon: Lisbon University. Schröter, Thorsten (2003): ‘Quantity and Quality in Screen Translation’. In Perspectives: Studies in Translatology 11:2. Clevedon: Multilingual Matters. 105-124. Tourzy, Gideon (1995): Descriptive Translation Studies and Beyond. Amsterdam: John Benjamins. 65
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