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Journal articles on the topic 'Surtitles'
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1
Abraitienė, Lina, and Laura Antanavičiūtė. "Text Compression in Surtitles: A Case Study of the Opera La Traviata." Sustainable Multilingualism 16, no. 1 (May 1, 2020): 145–74. http://dx.doi.org/10.2478/sm-2020-0008.
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SummarySurtitling as a mode of audiovisual translation is commonly used for intercultural communication both intralingually and interlingually in theatres. The largest Lithuanian theatres often provide surtitles as a means to present translated text of the original language, although in the scientific field surtitling is still a little studied mode. In order to provide qualitative surtitles that convey the essentials of the original language, translators and surtitlers applied a number of compression strategies. The duration and length of the surtitles are limited; therefore, the surtitle specialists must take into account the time and space constraints and provide the shortest text without losing the essence so that the viewer would be able to spend less time reading and mostly focusing on the performance. The article investigates cases of compression of translated text at both the syntactic and lexical levels. Using the descriptive, analytical and comparative methods, Lithuanian surtitles of the opera Traviata for two theatres, namely Kaunas State Musical Theatre and Lithuanian National Opera and Ballet Theatre, are prepared, and a study of the cases of text compression is performed.
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Ożarowska, Aleksandra. "Beyond the libretto." STRIDON: Studies in Translation and Interpreting 1, no. 2 (November 30, 2021): 49–63. http://dx.doi.org/10.4312/stridon.1.2.49-63.
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Nowadays both intra- and interlingual surtitles are an inherent element of almost all opera productions and, partly thanks to this technology, opera is now going through a renaissance. The trend of staging operas in a modernised fashion is especially popular these days, but it represents a particular challenge for surtitlers. It is argued in this article that while surtitles accompanying traditional opera productions are usually intrasemiotic, as their source text is just the libretto, modernised productions often have intersemiotic surtitles. The article analyses fragments of surtitles prepared for four different operas staged in the Metropolitan Opera House, Bayerische Staatsoper and Royal Opera House. The result show that while traditionally surtitles provide the viewers with the meaning of the libretto, the role of intersemiotic surtitles is much more extended, as they provide the audience with more comprehensive information about the whole opera production.
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Spencer, Stewart. "Surtitles." Musical Times 130, no. 1755 (May 1, 1989): 257. http://dx.doi.org/10.2307/966310.
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Spencer, Stewart, and Robert Anderson. "More on Surtitles." Musical Times 130, no. 1757 (July 1989): 384. http://dx.doi.org/10.2307/1193429.
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Low, Peter. "Surtitles for Opera." Babel. Revue internationale de la traduction / International Journal of Translation 48, no. 2 (November 22, 2002): 97–110. http://dx.doi.org/10.1075/babel.48.2.01low.
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Ladouceur, Louise. "Surtitles take the stage in Franco-Canadian theatre." Target. International Journal of Translation Studies 25, no. 3 (October 11, 2013): 343–64. http://dx.doi.org/10.1075/target.25.3.03lad.
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Faced with the need to expand their audience, small Franco-Canadian theatre companies are experimenting with various on-stage translative strategies, such as surtitles, to reach audiences with diverse linguistic and cultural profiles. Not only do they explore their bilingualism in plays that incorporate Canada’s two official languages, they enhance the bilingual aesthetics of the original play with the use of surtitles. In addition to conventional surtitles translating the source text delivered orally on stage, creative surtitles transmit new messages and thus multiply the possible readings generated by the performance. Thus, translation achieves a certain autonomy within the theatre production and, in doing so, redefines its function while challenging the existing theoretical models applied to the translation of dramatic texts.
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Virkkunen, Riitta. "The Source Text of Opera Surtitles." Meta 49, no. 1 (September 13, 2004): 89–97. http://dx.doi.org/10.7202/009024ar.
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Abstract This article discusses the source text and reading situation of opera surtitles. It introduces opera from a multimodal viewpoint and differentiates between the dramatic text and the stage interpretation. With two versions of surtitles, it approaches two different surtitling strategies, the one that concentrates on the libretto and the other that focusses on the particular stage interpretation. As a result, the article asks if we should consider the stage interpretation to be the only appropriate source text of surtitles.
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Czubińska, Małgorzata. "Sposoby wykorzystania napisów scenicznych jako metody przekładu spektakli teatralnych w trakcie Malta Festival Poznań 2017." Investigationes Linguisticae 39 (May 31, 2019): 31–45. http://dx.doi.org/10.14746/il.2018.39.3.
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As a result of the internationalization of theatrical art and the development of modern technologies, surtitles are currently one of the most frequently used methods of theater translation. The diversity of solutions currently proposed by theaters around the world entails the necessity of development of the common rules of the creation of surtitles. This role is to be fulfilled by the French rulebook prepared by the by the drama institute Maison Antoine Vitez, entitled "Guide du sur-titrage au théâtre" (Bataillon, Muhleisen, Diez, 2016). The following analysis is based on examples of the use of surtitles from four performances presented during the Malta Festival 2017 in Poznań. Its purpose will be to answer the question: to what extent the surtitles used during the Polish festival of theater are in compliance with the norms suggested by authors of“Guide du sur-titrage au théâtre” (2016)?
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Ożarowska, Aleksandra. "The Marriage of Heaven and Hell: On the Functional Approach to Translating Libretti for Modernised Opera Productions." Anglica. An International Journal of English Studies, no. 26/2 (September 11, 2017): 171–83. http://dx.doi.org/10.7311/0860-5734.26.2.10.
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The present paper focuses on the issue of translating operatic libretti in the form of surtitles. This is a very specific type of translation, and it becomes even more challenging when operatic productions for which surtitles are created are modernised. In such cases the application of skopos theory proves to be the most useful and effective, even though some of its premises may be regarded as controversial. The data for the present study come from the most reputable opera houses, for example the Metropolitan Opera House or Royal Opera House, as they are known for providing their audiences with high-quality libretti translations.
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Brodie, Geraldine. "Intercultural theatrical encounter and the dramaturgy of surtitles." Language and Intercultural Communication 20, no. 5 (July 2, 2020): 450–63. http://dx.doi.org/10.1080/14708477.2020.1784188.
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Rędzioch-Korkuz, Anna. "Constraints on Opera Surtitling: Hindrance or Help?" Meta 63, no. 1 (July 11, 2018): 216–34. http://dx.doi.org/10.7202/1050522ar.
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The article addresses the problem of constraints typical of opera surtitling, an audiovisual translation modality that seems rather neglected as far as the academic discourse is concerned. Although the termconstraintmay appear to have mainly negative connotations, it seems that the idea of a constraint may often prove helpful, since it may facilitate the process of translation by restricting the scope of possibilities and hence justify the chosen techniques. The article is meant to propose a classification of potential constraints on the surtitling process, including the constraint of a live performance, music, audience design or relevance, and the resulting implications for the whole process. It is argued that the awareness of the constraints operating in the process of drafting surtitles helps to understand the rationale behind this particular translation activity and consequently helps to draft good quality surtitles which serve their original purpose.
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Griesel, Yvonne. "Surtitling: Surtitles an other hybrid on a hybrid stage." TRANS. Revista de Traductología, no. 13 (October 4, 2017): 119. http://dx.doi.org/10.24310/trans.2009.v0i13.3160.
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La sobretitulación es una forma de transferencia interlingüística que tiene lugar en escena cuando una producción teatral se desplaza. Consiste, además, en una modalidad híbrida de traducción entre la traducción propiamente dicha y la interpretación. Por ello constituye un campo de investigación novedoso y de gran interés en el ámbito de los Estudios de Traducción. En la actualidad el público ya está acostumbrado a la recepción de imágenes fragmentadas en escena. Esta forma híbrida de traducción se inserta en un teatro intermedial. Este trabajo trata sobre la sobretitulación en el mencionado contexto híbrido. La hibricidad es una característica específica de la sobretitulación que se puede presentar de muchas formas y con la que se tiene que trabajar en escena. El artículo muestra que la transferencia interlingüística lejos de ser simple, presenta complejidad, encuentra muchos escollos como es el caso de las dicotomías. Pero si el escollo se acepta como un reto, este formará parte de la puesta en escena y además puede suponer una forma de enriquecerla.
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Ożarowska, Aleksandra. "The Paramount Role of Translation in Modern Opera Productions." Text Matters, no. 7 (October 16, 2017): 258–72. http://dx.doi.org/10.1515/texmat-2017-0014.
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Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions.
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Imre, Attila. "How (Not) to Fail as a Multimedia Translator." Acta Universitatis Sapientiae, Philologica 6, no. 2 (March 1, 2015): 249–59. http://dx.doi.org/10.1515/ausp-2015-0017.
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AbstractThe article is trying to highlight the major skills of a present-day translator, without which failure is assured. Although we start with general (classical) requirements, particular ones will be discussed, such as the gradual shift from PRAT (paper-and-rubber-assisted translation) to CAT (computer-assisted translation). We argue that professional translators in the 21st century must make use of personal computers and specific software designed to support translation: translation memories (TM), term bases (TB) and translation environments (TE), which already have built-in machine translation (MT) possibility as well. This shift also entails that translators have to deal with further impediments as well: the so-called "text"-to-be-translated has changed to "whatever"-to-be-translated. We argue that would-be translators are hardly ever prepared for this new type of multimedia challenge (e.g. surtitles), thus leaving room for technical experts to discover their skills in translating multimedia. It is our belief that managing translations is directly linked with managing translators, and there are more traps for translators in the 21st century than a layman would think. Consequently, we would like to offer some tips how to build and acquire translation databases in order to catch up with the 21st century rush hour in the field of translation.
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Babayants, Art, and Nicole Nolette. "Defying the Monolingual Stage / Bousculer la scène unilingue." Theatre Research in Canada 38, no. 2 (November 2017): 143–47. http://dx.doi.org/10.3138/tric.38.2.143.
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In early April 2017, Toronto’s Modern Times Theatre invited a diverse group of artists, scholars, and critics to join a discussion about diversity in Canadian theatre practices. One of the panels moderated by the Artistic Director of Cahoots Theatre, Marjorie Chan, focused on languages and accents on stage. Each of the discussants proposed their own set of questions: How can minority languages be represented on stage? Should they be translated? What is the role of subtitles and what kind of sub/surtitles should be used? Who is allowed to use which language? For instance, can hearing actors use ASL on stage or should they let deaf actors perform roles that require ASL? Should immigrant actors who learned English as adults be expected to speak English without a marked accent? Why do Canadian audiences and critics find it difficult to accept “non-native sounding” actors performing characters that are expected to have an “unmarked” accent? Why are they expected to have an “unmarked accent”? While the discussants did not see eye to eye on many of these issues, it was clear that they all shared the view that professional Canadian theatre companies and Canadian theatre schools are currently doing a rather poor job at fostering linguistic and phonetic diversity on stage. It also became clear that the question of using multiple languages on stage is profoundly intertwined with the question of accents, dialects, the issues of accent/language perception, as well as race and race perception, the problem of power distribution, and, last but not least, the aesthetic choices of every single production.
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Péjaudier, Hervé. "« Surtitrer, vous êtes sûrs ? »." Traduire, no. 222 (June 15, 2010): 87–91. http://dx.doi.org/10.4000/traduire.446.
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Pridmore-Franz, Milane. "La pratique du surtitrage en contexte minoritaire." Convergences francophones 2, no. 2 (October 16, 2015): 57–67. http://dx.doi.org/10.29173/cf323.
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Depuis son essor au milieu des années 80, la pratique du surtitrage demeure une forme de traduction audiovisuelle peu explorée, malgré l’intérêt croissant qu’elle suscite chez certains traductologues et spécialistes. Si les études sur ce genre de traduction multidimensionnelle ou multisémiotique et ses enjeux sont encore à l’état embryonnaire, la perception et les attitudes des divers publics concernant les surtitres sont peu connues de la part des chercheurs. Il va de soi que, pour assurer le succès d’un spectacle surtitré, on doit bien connaître son public cible, comme le requiert tout acte de traduction. Comment les surtitres pour le théâtre sont-ils perçus par le grand public? Comment les choix de traduction affectent-ils la réception d’une représentation théâtrale surtitrée? Ces questions sont d’autant plus importantes dans des contextes francophones minoritaires tels que les communautés francophones de l’Ouest canadien, où les publics des théâtres francophones comprennent des francophones bilingues, des anglophones (et francophiles) monolingues, ainsi que des apprenants de la langue. Dans le cadre plus large d’une étude de grande envergure sur la réception des surtitres effectuée à L’UniThéâtre, cet article sert d’analyse réflexive entreprise par la surtitreuse: elle y aborde ses procédés de surtitrage et examine l’efficacité de sa stratégie en tenant compte des enjeux sociolinguistiques et politico-culturels qui influent sur les conditions de réception dans de telles situations linguistiques minoritaires
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Gillespie, John K. "Review essay: LollaPalooka: Ashita no Ma-Joe: Rocky Macbeth, Written and Directed by Murai Yu. Performed in Japanese by Murai's company Kaimaku Pennant Race, with surtitles. Five Performances: 15–18 May 2019, at Japan Society in New York City." Asian Theatre Journal 38, no. 1 (2021): 126–38. http://dx.doi.org/10.1353/atj.2021.0007.
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Ladouceur, Louise, and Shavaun Liss. "Identité bilingue et surtitres ludiques dans les théâtres francophones de l’Ouest canadien." Francophonies d'Amérique, no. 32 (February 13, 2013): 171–86. http://dx.doi.org/10.7202/1014049ar.
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Les théâtres francophones de l’Ouest explorent des esthétiques dont la nouveauté tient à la spécificité des contextes dans lesquels ils sont ancrés. Ainsi, après avoir suscité la méfiance, les manifestations du bilinguisme des francophones minoritaires ont été de plus en plus fréquentes sur les scènes théâtrales de l’Ouest, où on va maintenant jusqu’à revendiquer une identité bilingue. Conçue comme un phénomène de mouvance entre les langues et les cultures, cette identité bilingue invite à transgresser des frontières qui se voulaient auparavant plus étanches. Dans cette optique, l’emploi de surtitres anglais dans les théâtres francophones de l’Ouest et l’expérimentation ludique dont ils font l’objet façonnent de nouvelles esthétiques représentatives d’une réalité où le bilinguisme et l’interculturalité sont des composantes essentielles de l’identité francophone.
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Ladouceur, Louise. "De l’emploi des surtitres anglais dans les théâtres franco-canadiens : bénéfice et préjudice." TTR 28, no. 1-2 (October 23, 2017): 239–57. http://dx.doi.org/10.7202/1041658ar.
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Cet article propose une étude du surtitrage dans les théâtres francophones de l’Ouest canadien afin de mettre en relief ce qui distingue ce mode de traduction dans le champ de la traduction audiovisuelle. Le théâtre étant un art vivant, les surtitres doivent composer avec la nature instable du texte source livré sur scène et les différents profils linguistiques des destinataires auxquels ils sont transmis pendant le spectacle. Mis en pratique depuis plusieurs années dans les théâtres franco-canadiens, le surtitrage offre plusieurs avantages aux compagnies théâtrales fonctionnant dans une langue française minorisée puisqu’il permet à l’oeuvre de rejoindre un public élargi tout en conservant sa spécificité linguistique et esthétique. Toutefois, parce qu’il oblige les langues source et cible à cohabiter dans un espace traditionnellement consacré à des productions culturelles d’expression française, ce mode de traduction remet en cause la vocation des théâtres francophones en contexte minoritaire. Enfin, devenue pratique courante dans les théâtres franco-canadiens, le surtitrage demeure absent des scènes anglophones, ce qui met en relief l’asymétrie des langues officielles du Canada.
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Notomi, Noburu. "Contemporary Meaning of Reading Plato in Japan and Asia Surtitre." Études platoniciennes, no. 9 (December 15, 2012): 161–69. http://dx.doi.org/10.4000/etudesplatoniciennes.283.
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Kim, Seoung Gon, and Shik Heo. "Foreigner Tourists Acceptance of Surtitle Information Service: Focusing on Transformed TAM and Effects of Perceived Risks." Korean Arts Association of Arts Management 20 (May 30, 2019): 213–41. http://dx.doi.org/10.52564/jamp.2019.50.213.
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Murphy, Susan M. "Hypatie ou la fin de l’Histoire." Études 32, no. 2 (August 28, 2007): 93–108. http://dx.doi.org/10.7202/016313ar.
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Résumé Hypatie ou la fin des dieux (1989) est le premier volet du Triptyque des temps perdus de Jean Marcel, oeuvre qui, d’après son surtitre et les titres des trois romans qui la composent, se présente comme un tableau d’une époque révolue — celle de la fin de l’Antiquité et de l’essor du christianisme, peinte à partir des biographies de personnages historiques. À l’aide d’une analyse de la structure du roman, des formes et de l’agencement de ses éléments constituants, et d’une comparaison entre les faits relatés et les données historiques, cet article situe Hypatie dans une tendance contemporaine caractérisée par l’usage de la « métafiction ».
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Ladouceur, Louise, and Shavaun Liss. "Une poétique de la marge : bilinguisme et surtitrage sur les scènes francophones de l’Ouest canadien." L’Annuaire théâtral, no. 50-51 (July 17, 2013): 71–87. http://dx.doi.org/10.7202/1017313ar.
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Dans l’Ouest canadien, où les francophones sont bilingues par nécessité, se développe un théâtre qui explore les possibilités esthétiques du bilinguisme. Ce répertoire bilingue, représentatif d’une dualité linguistique qui imprègne la vie au quotidien, inclut les pièces de Roger Auger créées à Saint-Boniface en 1975, 1976 et 1978, celles de Marc Prescott produites à partir de 1993 à Saint-Boniface et à Edmonton, ainsi que la plus récente production bilingue de Cowboy poétré de Kenneth Brown, présentée à Calgary en 2012. Ces productions révèlent une activité complexe de traduction et d’imbrication des langues qui façonne tout le processus de création de l’oeuvre théâtrale. Avec Prescott, le bilinguisme est mis à l’épreuve comme objet d’une démarche esthétique audacieuse qui élabore une véritable poétique bilingue. Par ailleurs, l’emploi de plus en plus répandu des surtitres anglais dans les théâtres franco-canadiens permet d’élargir l’auditoire visé tout en conservant l’oralité spécifique de l’oeuvre et la dualité linguistique sur laquelle elle est construite. Cette pratique est en soi une manifestation de multilinguisme puisqu’elle donne accès simultanément à plusieurs langues et constitue, pour le spectateur unilingue, une fenêtre sur une culture et une théâtralité autres.
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Labrecque, Rémi. "L’identité fransaskoise en pièces ou l’insoutenable angoisse de l’autre : tensions entre communautarisme et cosmopolitisme dans le théâtre fransaskois." Dossier thématique 30, no. 1 (May 16, 2018): 43–79. http://dx.doi.org/10.7202/1045595ar.
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Cet article a pour objectif de réfléchir à la manière dont l’identité des francophones est représentée dans trois pièces fransaskoises, soit De blé d’inde et de pissenlits de Lorraine Archambault, Il était une fois Delmas, Sask… mais pas deux fois! d’André Roy et Elephant Wake de Joey Tremblay. Je présente une analyse des discours qui s’en dégagent à l’aide des concepts de chercheurs et de chercheuses qui abordent la réalité des francophones en milieu minoritaire du point de vue sociologique ou culturel (Monica Heller, Normand Labrie, Joseph Yvon Thériault et François Paré), ou encore, qui s’intéressent au contexte de production et de réception des oeuvres fransaskoises en étudiant les stratégies d’inclusion et de résistance qui s’y trouvent (Marie-Diane Clarke, Nicole Côté, Deborah Cottreau, Louise Ladouceur, Shavaun Liss, Jane Moss, Ian C. Nelson et Nicole Nolette). Après avoir présenté les différences entre des oeuvres à vocation communautaire et artistique, l’article se termine en prenant position en faveur des accommodements occasionnels tels que des surtitres dans la sphère du théâtre francophone dans l’Ouest canadien, car ce genre de stratégie s’avère essentielle pour la survie et l’épanouissement de cette forme d’art minoritaire qui permet aux Fransaskois (de souche ou d’adoption) d’affirmer leur identité sur la scène.
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Eglinton, Mika. "“Thou art translated”: Remapping Hideki Noda and Satoshi Miyagi’s A Midsummer Night’s Dream in Post-March 11 Japan." Multicultural Shakespeare: Translation, Appropriation and Performance 14, no. 29 (December 30, 2016): 51–72. http://dx.doi.org/10.1515/mstap-2016-0016.
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Ever since the first introduction of Shakespeare to a Japanese audience in the nineteenth century, his plays have functioned as “contact zones,” which are translingual interfaces between communities and their cultures; points of negotiation, misunderstanding and mutual transformation. In the context of what is ostensibly a monolingual society, Japanese Shakespeare has produced a limited number of performances that have attempted to be multilingual. Most of them, however, turn out to be translingual, blurring the borders of linguistic specificity. As an example of this, I read A Midsummer Night’s Dream as adapted by Hideki Noda originally in 1992 and then directed by Miyagi Satoshi for the Shizuoka Performing Arts Centre in 2011. Drawing on my experience as the surtitle translator of Noda’s Japanese adaptation “back” into English, I discuss the linguistic and cultural metamorphosis of Noda’s reworking and the effects of its mediation in Miyagi’s rendition, and ask to what extent the production, adapted in post-March 2011 Japan, can be read as a “contact zone” for a translingual Japanese Shakespeare. In what way did Miyagi’s reading of the post-March 11 events inflect Noda’s adaption along socio-political lines? What is lost and gained in processes of adaptation in the wake of an environmental catastrophe?
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Babayants, Art, and Nicole Nolette. "Présentation / Introduction Bousculer la scène unilingue / Defying the Monolingual Stage." Theatre Research in Canada 38, no. 2 (November 2017): 148–52. http://dx.doi.org/10.3138/tric.38.2.148.
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Au début avril 2017, la compagnie de théâtre Modern Times de Toronto a invité un groupe hétérogène d’artistes, de chercheurs et de critiques à échanger sur le thème de la diversité en lien avec les pratiques théâtrales au Canada. Une des tables rondes, animée par Marjorie Chan, directrice artistique de Cahoots Theatre, portait sur les langues et les accents représentés sur la scène. Chacun des intervenants a proposé une série de questions. Comment représenter une langue minoritaire sur les planches? Doit-elle être traduite? Quel est le rôle des sous-titres? Quels types de sous/surtitres doit-on utiliser? Qui a le droit de s’exprimer en telle ou telle langue? Une personne entendante peut-elle s’exprimer sur scène en langue des signes? Faut-il plutôt laisser aux comédiens malentendants le soin d’interpréter des person-nages qui communiquent en ASL? Peut-on s’attendre à ce qu’un comédien immigré ayant appris l’anglais à l’âge adulte puisse s’exprimer sans accent dans cette langue? Pourquoi le public et la critique, au Canada, ont-ils du mal à accepter qu’un comédien dont l’accent n’est pas d’ici joue un personnage dont on pourrait s’attendre qu’ils aient un accent « non marqué »? Pourquoi s’attendrait-on à ce qu’il adopte un accent « non marqué »? S’il est vrai que les intervenants n’étaient pas toujours d’accord entre eux, ils étaient manifestement tous d’avis qu’au Canada, les compagnies de théâtre professionnelles et les écoles de théâtre s’en tirent plutôt mal lorsqu’il s’agit d’encourager la diversité linguistique et phonétique sur la scène. De plus, il est devenu évident que le recours à diverses langues au théâtre est intimement lié aux questions d’accents et de dialectes, à notre perception des langues et des accents, à la race, à notre perception de la race, au problème de la répartition du pouvoir et, dernier point mais non le moindre, aux choix d’ordre esthétique de chacune des productions.
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Ladouceur, Louise. "Bilingual performance and surtitles: translating linguistic and cultural duality in Canada." Linguistica Antverpiensia, New Series – Themes in Translation Studies, no. 13 (December 31, 2014). http://dx.doi.org/10.52034/lanstts.v0i13.54.
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In Canada, theatre artists living in a linguistic minority context, such as Francophones in Western Canada and Anglophones in Quebec, are bilingual out of necessity. They have recently explored their bilingualism in playwriting and in performing plays that display various degrees of heterolingualism. This article focuses on the emergence of a bilingual theatre in Canada and the challenges it poses for translation. Surtitles are an asset for these heterolingual plays, allowing them to reach a wider audience without erasing the linguistic and cultural specificity of the original production. The use of surtitles has led to experiments in which translation exceeds its primary function and takes on a creative role within the performance. This opens the way to the exploration of new theatrical aesthetics that showcase the linguistic duality at the heart of the Canadian reality.
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Ladouceur, Louise. "Bilingual performance and surtitles: translating linguistic and cultural duality in Canada." Linguistica Antverpiensia, New Series – Themes in Translation Studies 13 (December 31, 2014). http://dx.doi.org/10.52034/lanstts.v13i.54.
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In Canada, theatre artists living in a linguistic minority context, such as Francophones in Western Canada and Anglophones in Quebec, are bilingual out of necessity. They have recently explored their bilingualism in playwriting and in performing plays that display various degrees of heterolingualism. This article focuses on the emergence of a bilingual theatre in Canada and the challenges it poses for translation. Surtitles are an asset for these heterolingual plays, allowing them to reach a wider audience without erasing the linguistic and cultural specificity of the original production. The use of surtitles has led to experiments in which translation exceeds its primary function and takes on a creative role within the performance. This opens the way to the exploration of new theatrical aesthetics that showcase the linguistic duality at the heart of the Canadian reality.
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Sibul, Karin. "Teatrietenduste sünkroontõlkest eesti keelest vene keelde aastatel 1944–1991 / Simultaneous interpreting of theatre performances from Estonian into Russian from 1944 to 1991." Methis. Studia humaniora Estonica 15, no. 19 (June 13, 2017). http://dx.doi.org/10.7592/methis.v15i19.13436.
Full textAbstract:
Suuline teatritõlge on jäänud marginaalse tõlkeliigina uurijate tähelepanu alt välja nii Eestis kui ka mujal. aastatel 1944–1991 on Eestis regulaarselt tõlgitud teatrietendusi eesti keelest vene keelde Tallinna Riiklikus Akadeemilises Draamateatris (Eesti Draamateatris), teater Vanemuises ja Lydia Koidula nimelises Pärnu Draamateatris (Endla Teatris). Kahes teatris on olnud tööl koosseisulised tõlgid, Pärnus vabakutseline tõlk. Artiklis analüüsitakse intervjuusid tõlkidega ning üldistatakse suuliseks esitamiseks tõlgitud kirjaliku teksti ettekandmise eripärasusi. Osutatakse, et teatritõlge ei ole valmis teksti ette- ega pealelugemine, vaid lõplik tõlge sünnib reaalajas, etenduse jooksul. In Estonia the simultaneous interpretation of performances from Estonian into Russian has a long tradition dating back more than half a century; it has not, however, drawn the attention of researchers, theatre critics and reviewers. International academic research mostly focuses on the sign language interpretation of theatre performances for the deaf community. The author’s approach to theatre interpreting is therefore based on this, except that the interpreter is making the performance accessible not to the hearing-impaired but to audience members who do not master the original language of the performance. In the context of this article, therefore, “theatre interpreter” refers to a simultaneous interpreter who interprets theatre performances. There are certain similarities between the preparatory work of simultaneous and sign language theatre interpreters (and, for that matter, with that of audio describers): they work with the written text and the spoken word as well as on their comprehension and awareness of stage improvisation by the actors, combining both preparation and spontaneity.When researching interpreting in Estonia from 1944 to 1991, the author established that this subtype of institutional interpretation took place in at least seven theatres. Performances were regularly interpreted from Estonian into Russian at three theatres: the Tallinn Drama Theatre, the Theatre Vanemuine in Tartu and the Pärnu Drama Theatre. At the Russian Drama Theatre, a few performances were also interpreted from Russian into Estonian. The theatres in Tallinn and Tartu employed staff interpreters, while the interpreter in Pärnu was a freelancer. In addition to these three interpreters another three also interpreted theatre performances once or twice. Archival research yielded factual evidence about the introduction of theatre interpreting in Estonia; this started in Tartu and Tallinn in 1952, and in Pärnu in 1967, where it was used during the summer season. Valeria Barsova, the staff interpreter at Vanemuine until 1995, was also temporarily tasked with interpreting operas in 1953; once she also interpreted a ballet at an open-air performance reading out the synopsis. Barsova had “a great voice for the microphone, a soft low alto, neither disturbingly sharp nor interfering, transmitting the meaning of the words expressed by the actors on the stage very clearly but almost as if unconsciously” (Süvalep 1978). Maia Soorm, a staff interpreter at the Estonian Drama Theatre in Tallinn for thirty-seven years, was awarded the Aleksander Kurtna Prize for her long-term dedication to theatre interpreting in 2010. Similar to her colleagues in Tartu and Tallinn, the interpreter who worked at the Pärnu theatre—Malle Šalda—got the job by chance. Neither she nor any of the other interpreters had any formal interpreter training. In addition to these three main interpreters, the author’s meticulous work in the archives led her to identify another three interpreters from the 1950s and 1960s: Helene Malin, Aleksandr Aisenstadt and Armilda Berzina.Estonia’s three long-term theatre interpreters, all of whom are highly competent in their field, mastered not only fluency in the source and target languages but also the metamorphosis from a dramatic text into a stage interpretation. A major contributing factor to this was their long-term relationship with the theatre they worked at and the opportunity they had to participate in the production process. Theatre interpreting is a hybrid form in which both interpretation and translation must be considered (Turner, Pollitt 2002: 41). Yvonne Griesel (2009: 125) recommends treating translators and interpreters as partners and language experts for the stage.In 1983, opera surtitles were introduced in the Canadian Opera Company. Since then, the use of surtitles has become widespread in opera houses all over the world. In operas, there is less improvisation than in drama productions. A lag between surtitles and the spoken word could have a detrimental effect on the entire production. Technical problems with surtitles can also disturb the audience members who do not understand the original. Despite such potential issues, over the last ten years surtitles have also begun to be used in many drama theatres. This is a particular way to solve linguistic issues at drama festivals. Static surtitles, however, do not take into account improvisation or contribute to the real-life theatre experience. The final version of theatre interpreting, on the other hand, is “performed live in real time” (Napier 2011: 373). Indeed, a good theatre interpreter may make the audience forget their headsets and the linguistic barrier.
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Mateo, Marta. "Surtitling today: new uses, attitudes and developments." Linguistica Antverpiensia, New Series – Themes in Translation Studies 6 (October 25, 2021). http://dx.doi.org/10.52034/lanstts.v6i.184.
Full textAbstract:
Surtitling has exerted a noticeable twofold effect on the opera world, in which it originated: it has contributed substantially to increasing the number of opera goers, making opera more accessible and “audience-friendly” and changing audiences’ expectations towards their operatic experience, which has in turn affected the reception of works in the audience ’s native language; secondly, it has brought about innovations in opera production, introducing new languages and pieces in opera houses. Besides, surtitles have now been put to new uses, as some theatre productions have adopted them enabling drama to travel more extensively. This article will focus on the changes surtitling has produced in the contexts using it, the impact of technical advances on its own production and reception, as well as on its new consumers and uses.
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Yuan, Yilei, and Duoxiu Qian. "Simplification in subtitling filmic Beijing Opera." Onomázein Revista de lingüística filología y traducción, no. 53 (2021). http://dx.doi.org/10.7764/onomazein.53.04.
Full textAbstract:
In recent years, opera translation and surtitling has become a field of growing popularity in translation studies. While current research often revolves around opera in the western countries or opera translation for the stage, this paper aims to explore the translation of Beijing Opera in films. The discussion will draw upon literature on opera translation and surtitles while examining Beijing Opera. With reference to Raise the Red Lantern (1991), directed by Zhang Yimou, an internationally acclaimed filmmaker, this paper will focus on the rendition of Beijing Opera and propose subtitles for an opera sequence in the film. The major finding is that it is possible to convey the general meaning of the lyrics of Beijing Opera through simplification, i.e. culturally-bound references could be simplified for better understanding. This is an addition to the existing research on translation from other languages into English and will have implications for future practices in this domain.
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Kerevičienė, Jurgita, and Jurgita Astrauskienė. "Variability in the Use of Audiovisual Translation Terminology." Respectus Philologicus, no. 39 (44) (April 23, 2021). http://dx.doi.org/10.15388/respectus.2020.39.44.84.
Full textAbstract:
The growing supply of audiovisual products is closely linked to their translation to the target audience. In Lithuania, as well as in other countries, various modes of audiovisual translation are applied: some audiovisual works are dubbed, some are translated using voice-over, and still others are subtitled or surtitled. Deaf and hard of hearing viewers have access to the audiovisual content with the help of specialized subtitles; whereas the blind and partially sighted gain access via audio description. Each mode of audiovisual translation is defined by particular terms and specific characteristics, the variety of which may frequently seem like a kind of terminological maze for their users. This article aims at defining terms related to both the field of audiovisual translation and its modes by examining their differences and similarities to provide a structured classification of these terms. The paper also presents the insights and results of the survey, which reveals consumers’ ambiguities about the perception of audiovisual products and the application of audiovisual translation terminology.
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Nolette, Nicole. "« Words are not simple play things! » : L’hétérolinguisme théâtral chez Louis Patrick Leroux." Linguistica Antverpiensia, New Series – Themes in Translation Studies, no. 13 (May 29, 2013). http://dx.doi.org/10.52034/lanstts.v0i13.61.
Full textAbstract:
This article explores how, in the 1990s, Canadian playwright Patrick Leroux broke away from previously prevalent representations of bilingualism in minority Franco-Ontarian drama and made multilingualism and translation into theatrical “play things”. His most playful performance text, Le Rêve totalitaire de dieu l’amibe, features as many games as issues at stake for staging experimental minority theatre. Substractive ideologies around bilingualism are torn apart, heterolingualism is raised and deconstructed like a strange tower of Babel and translation becomes BabelFish-like. L’ombre du lecteur anglais (The shadow of the English reader) and an Anglophone commentator are added to a production that is constantly reworked, retranslated and surtitled. The trajectory of the production from Ottawa to Sudbury (in Ontario) and Saint-Lambert (in Quebec), and then on to Montreal and to Hull, delineates a playground for translation riddled with layers of address to spectators, depending on their level of comprehension of the languages spoken on (and off) stage.
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Nolette, Nicole. "« Words are not simple play things! » : L’hétérolinguisme théâtral chez Louis Patrick Leroux." Linguistica Antverpiensia, New Series – Themes in Translation Studies 13 (May 29, 2013). http://dx.doi.org/10.52034/lanstts.v13i.61.
Full textAbstract:
This article explores how, in the 1990s, Canadian playwright Patrick Leroux broke away from previously prevalent representations of bilingualism in minority Franco-Ontarian drama and made multilingualism and translation into theatrical “play things”. His most playful performance text, Le Rêve totalitaire de dieu l’amibe, features as many games as issues at stake for staging experimental minority theatre. Substractive ideologies around bilingualism are torn apart, heterolingualism is raised and deconstructed like a strange tower of Babel and translation becomes BabelFish-like. L’ombre du lecteur anglais (The shadow of the English reader) and an Anglophone commentator are added to a production that is constantly reworked, retranslated and surtitled. The trajectory of the production from Ottawa to Sudbury (in Ontario) and Saint-Lambert (in Quebec), and then on to Montreal and to Hull, delineates a playground for translation riddled with layers of address to spectators, depending on their level of comprehension of the languages spoken on (and off) stage.