Abstracts
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.
Keywords/Mots-clés:
- libretto,
- multimodality,
- multisemiotic text,
- opera,
- surtitling
Résumé
Quel est le texte de départ et quelle est la situation de lecture des sous-titres d’opéra ? Pour répondre à cette double question, l’auteure présente d’abord l’opéra dans une perspective multimodale, différenciant entre le texte dramatique et les représentations. A partir de deux versions sous-titrées, elle envisage deux stratégies de sous-titrage, l’une centrée sur le livret et l’autre orientée sur l’interprétation scénique, toujours particulière. Il en ressort que cette dernière pourrait être la seule source appropriée pour sous-titrer.
Appendices
References
- Bergström, G. (2000): In Search of Meaning in Opera, Stockholm, Teatervetenskapliga institutionen.
- Buyssens, E. (1943): Les langages et le discours. Essai de linguistique fonctionnelle, dans le cadre de la sémiologie, Bruxelles, Office de publicité.
- Citron, M. J. (2000): Opera on Screen, New Haven & London, Yale University Press.
- Dean, J. (1999): The Craft of Writing English Captions. Seattle Opera Magazine, 1998/99 Season, Spring Edition, pp. 14-18.
- Dewolf, L. (2001): Surtitling operas. In Yves Gambier & Gottlieb, Henrik (eds.): (Multi)media Translation. Concepts, Practices, and Research. Benjamins Translation Library, volume 34. Amsterdam & Philadelphia, John Benjamins Publishing Company, pp. 179-188.
- Fischer-Lichte, E. (1992): The Semiotics of Theater, Translated by Jeremy Gaines and Doris L. Jones. Bloomington & Indianapolis, Indiana University Press.
- Hay, J. (1998): Subtitling and Surtitling. In Yves Gambier (ed.): Translating for the Media. Papers from the International Conference “Languages and the Media.” Berlin, November 22-23, 1996. University of Turku, Centre for Translation and Interpreting, pp. 131-137.
- Huovinen and S. Puurinen (1995): Jalkapuu. Teatterimiehen muistelmia. Porvoo, Helsinki and Juva, WSOY.
- Hurt, C. (1996): Übertitel als Teil einer Operninszenierung am Beispiel von Wagners Siegfried. In Christine Heiss & Rosa Maria Bollettieri Bosinelli (eds.): Traduzione multimediale per il cinema, la televisione e la scena, pp. 85-94.
- Hurt, C. and C. Wilder (1998): Untertitelung/Übertitelung. In Snell-Hornby, Mary et al. (eds.): Handbuch Translation. Tübingen, Stauffenburg, pp. 261-263.
- Jakobson, R. (1959): On Linguistic Aspects of Translation. In Reuben A. Brower (ed.): On Translation (Harvard Studies in Comparative Literature 23). Cambridge, MA, Harvard University Press, pp. 232-239.
- Jakobson, R. (1971): Selected Writings II. The Hague & Paris, Mouton.
- Kress, G. (2000): Text as the punctuation of semiosis: pulling at some of the threads. In Ulrike H. Meinhof & Jonathan Smith (eds.): Intertextuality and the media. From genre to everyday life. Manchester & New York, Manchester University Press, pp. 132-154.
- Kress, G. and T. Van Leeuwen (2001): Multimodal Discourse. The Modes and Media of Contemporary Communication. London, Arnold.
- Lampila, H.-I. (1997): Suomalainen ooppera. Porvoo & Helsinki & Juva, WSOY.
- Lindenberger, H. (1985): Opera. The Extravagant Art. Ithaca & London, Cornell University Press.
- Pavis, P. (1982): Languages of the Stage. Essays in the Semiology of the Theatre. New York, Performing Arts Journal Publications.
- Virkkunen, R. (2001): Tekstitys oopperassa (Surtitling for the Opera). Tampere University Press.
- Virkkunen, R. (2002): Tekstitys osana oopperaesitystä (Surtitles as Part of an Opera Performance). PhLic thesis. Tampere University.