Keywords
scenic translation
surtitling
audiovisual translation
How to Cite
Abstract
During the first two decades of the twenty-first century, we can observe an unprecedented shift in the practice of theatrical translation and a revision of the role of the theater translator. Nowadays, scenic translation methods, including surtitling, put in question the traditional perception of the key concepts of translatology such as translator, equivalence, translation process and methods or even the text. In this paper, based on the theoretical works, the voices of the researchers and theater professionals, the author discusses the status and roles of the theatrical translator as well as the challenges of his activity in the context of the modern theories of theater translation.References
Bassnett, S. (1985). « Ways through the Labyrinth: Strategies and Methods for Translating Theatre Texts ». In T. Hermans (réd.), The Manipulation of Literature. Studies in Literary Translation (pp. 87-102). Londres/Sydney : Croom Helm.
Bassnett, S. (1998). « Still Trapped in the Labyrinth. Further Reflections on Translation and Theatre ». In S. Bassnett & A. Lefevere (réd.), Constructing Cultures: Essays on Literary Translation (pp. 90-108). Clevedon : Multilingual Matters.
Bataillon, M., Muhleisen, L. & Diez, Y.-P. (2016). « Guide du sur-titrage au théâtre. Maison Antoine Vitez ». Accessible sur le site https://www.maisonantoinevitez.com/telechargements/guide-pdf.
Czubińska, M. (2016). La stylisation et ses enjeux dans la traduction du théâtre des minorités francophones canadiennes en polonais. Série : Dysertacje Wydziału Neofilologii UAM w Poznaniu; 22. Poznań : Wydział Neofilologii UAM w Poznaniu. Accessible sur le site https://repozytorium.amu.edu.pl/bitstream/10593/17538/1/Czubinska_9788394739812.pdf.
Déprats, J.-M. (1982). « Traduire Shakespeare pour le théâtre ». Théâtre/Public, 44, 45-48.
Dewolf, L. (2003). « La place du surtitrage comme mode de traduction et vecteur d’échange culturel pour les arts de la scène ». Recherches Théâtrales du Canada, vol. 24, no. 1, 92-108.
Dragnea, A. (2010). Surtitrage du dialogue dramatique dans la pratique théâtrale contemporaine. Iaşi : Editura Lumen.
Elam, K. (1980). The Semiotics of Theatre and Drama. London : Methuen.
Gottlieb, H. (1994). « Subtitling: Diagonal Translation ». Perspectives – Studies in Translatology, vol. 2, no. 1, 101-121.
Griesel, Y. (2005). « Surtitles and Translation. Towards an Integrative View of Theater Translation ». MuTra – Multidimensional Translation Conference Proceedings. Accessible sur le site http://www.euroconferences.info/proceedings/2005_Proceedings/2005_proceedings.html.
Griesel, Y. (2009). « Surtitling: Surtitles an other hybrid on a hybrid stage ». Trans, 13, 119-127. Accessible sur le site http://www.trans.uma.es/pdf/Trans_13/t13_119-127_YGriesel.pdf.
Griesel, Y. (2011). « Le surtitrage sur scène : un transfert linguistique hybride, pragmatique et artistique en même temps ». In A. Serban & J.-M. Lavaur (réd.), Traduction et médias audiovisuels (pp. 171-182). Lille : Preses Universitaires du Septentrion.
Pavis, P. (1976). Problèmes de sémiologie théâtrale. Québec : Presses de l'Université du Québec.
Péran, B. (2010). « Éléments d’analyse de la stratégie de traduction mise en oeuvre dans le surtitrage ». Traduire, 223, 66-77. Accessible sur le site http://traduire.revues.org/288.
Péran, B. (2016). « Le surtitrage et son con-texte source : vers une approche intégrative du surtitrage théâtral ». La main de Thôt, 4. Accessible sur le site http://revues.univtlse2.fr/lamaindethot/index.php?id=651.
Péran, B. & Surbezy, A. (2010). « Surtitrage et Langue des Signes : l’expérience d’une complicité ? ». Traduire, 223, 78-88. Accessible sur le site http://traduire.revues.org/295.
Regattin, F. (2004). « Théâtre en traduction : un aperçu du débat théorique ». L’Annuaire théâtral : revue québécoise d’études théâtrales, 36, 156-171.
Rędzioch-Korkuz, A. (2016). Opera surtitling as a Special Case of Audiovisual Tanslation. Towards a Semiotic and Translation Based Framework for Opera Surtitling. Frankfurt am Main : Peter Lang Edition.
Surbezy, A. (2006). « Quand la traduction s’adapte à la scène : le surtitrage (Sangre lunar de J.S. Sinisterra et El grito de los espejos de M. Lobera) ». In S. Hibbs & M. Martinez (réd.), Traduction, adaptation, réécriture dans le monde hispanique contemporain (pp. 170-178). Toulouse : Presses Universitaires du Mirail.
Théâtre/Public (1982), no. 44, mars-avril. Traduire. Dossier réalisé sous la direction de Georges Banu.
Tomaszkiewicz, T. (2006). Przekład audiowizualny. Warszawa : Wydawnictwo Naukowe PWN.
Tryuk, M. (2010). « Co to jest tłumaczenie audiowizualne? ». Przekładaniec, 20, 26-39.
Ubersfeld, A. (1978). Lire le théâtre. Paris : Éditions Sociales.
Ubersfeld, A. (1996). Lire le théâtre I. Paris : Belin.
Upton, C.-A. & Hale, T. (2000). Moving Target: Theatre Translation and Cultural Relocation. Manchester/Northampton : St. Jerome.
Van Goethem, L. (2016). « L’art de surtitrer : voyages en langues étrangères ». Accessible sur le site https://blog.alternativestheatrales.be/lart-de-surtitrer-voyages-en-langues-etrangeres/.
License
- The Author hereby warrants that he/she is the owner of all the copyright and other intellectual property rights in the Work and that, within the scope of the present Agreement, the paper does not infringe the legal rights of another person.The owner of the copyright work also warrants that he/she is the sole and original creator thereof and that is not bound by any legal constraints in regard to the use or sale of the work.
- The Author grants the Purchaser non-exclusive and free of charge license to unlimited use worldwide over an unspecified period of time in the following areas of exploitation:
2.1. production of multiple copies of the Work produced according to the specific application of a given technology, including printing, reproduction of graphics through mechanical or electrical means (reprography) and digital technology;
2.2. marketing authorisation, loan or lease of the original or copies thereof;
2.3. public performance, public performance in the broadcast, video screening, media enhancements as well as broadcasting and rebroadcasting, made available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them;
2.4. inclusion of the Work into a collective work (i.e. with a number of contributions);
2.5. inclusion of the Work in the electronic version to be offered on an electronic platform, or any other conceivable introduction of the Work in its electronic version to the Internet;
2.6. dissemination of electronic versions of the Work in its electronic version online, in a collective work or independently;
2.7. making the Work in the electronic version available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, in particular by making it accessible via the Internet, Intranet, Extranet;
2.8. making the Work available according to appropriate license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) as well as another language version of this license or any later version published by Creative Commons. - The Author grants the Adam Mickiewicz University in Poznan permission to:
3.1. reproduce a single copy (print or download) and royalty-free use and disposal of rights to compilations of the Work and these compilations.
3.2. send metadata files related to the Work, including to commercial and non-commercial journal-indexing databases. - The Author declares that, on the basis of the license granted in the present Agreement, the Purchaser is entitled and obliged to allow third parties to obtain further licenses (sublicenses) to the Work and to other materials, including derivatives thereof or compilations made based on or including the Work, whereas the provisions of such sub-licenses will be the same as with the attributed license pattern Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)or another language version of this license, or any later version of this license published by Creative Commons. Thereby, the Author entitles all interested parties to use the work, for non-commercial purposes only, under the following conditions:
4.1. acknowledgment of authorship, i.e. observing the obligation to provide, along with the distributed work, information about the author, title, source (link to the original Work, DOI) and of the license itself.
4.2. the derivatives of the Work are subject to the same conditions, i.e. they may be published only based on a licence which would be identical to the one granting access to the original Work. - The University of Adam Mickiewicz in Poznań is obliged to
5.1. make the Work available to the public in such a way that members of the public may access the Work from a place and at a time individually chosen by them, without any technological constraints;
5.2. appropriately inform members of the public to whom the Work is to be made available about sublicenses in such a way as to ensure that all parties are properly informed (appropriate informing messages).
Other provisions
- The University of Adam Mickiewicz in Poznań hereby preserves the copyright to the journal as a whole (layout/stylesheet, graphics, cover design, logo etc.)