Dott.ssa Soncini Slides Traduzione teatrale

Laurea Magistrale TLS – a.a. 2013-14
Corso di Teorie e Pratiche della traduzione
Prof. Sara Soncini – 17/12/2013
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 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.)
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 S., Time-Sharing on Stage: Drama Translation in Theatre and
Society, Clevedon: Multilingual Matters, 2000, p.4)
Specificità della parola teatrale
A. Serpieri (1978): “parola quadrata”
A. Serpieri (2002): referenzialità e performatività
Serpieri A. et al., 1978, Come comunica il teatro, Milano: Il
Formichiere.
Serpieri A., 2002, “Tradurre per il teatro”, in Zacchi R., Morini M. (eds.),
Manuale di traduzioni dall’inglese, pp. 64-75.
Referenzialità
La parola sulla scena, la parola detta dai
personaggi, si colloca in un contesto spaziotemporale cui continuamente si riferisce per
questo o quell’altro suo aspetto. (Serpieri 2002)
V. Herman, 1995: “situated language”
(Herman V., 1995, Dramatic Discourse. Dialogue as Interaction
in Plays, London/New York, Routledge.)
La neutralizzazione dei deittici
in Waiting for Godot
V: Well? Shall we go?
E: Yes, let’s go.
[They do not move.]
V: [Hurt, coldly.] May one inquire where His Highness spent
the night?
E: In a ditch.
V: [Admiringly.] In a ditch! Where?
E: [Without gesture] Over there.
Deittici shakespeariani…
Polonius: Take this from this if this be
otherwise
(Hamlet II.2.157)
… e loro traduzione
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.
(Serpieri 2002)
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.’
L’incompletezza come fonte di
“potenziale teatrale”
“un texte troué”
(Anne Ubersfeld, Lire le théâtre, Paris, 1977)
“theatrical potential” = “a semiotic relation
between the verbal and nonverbal signs and
structures of the performance.”
(Totzeva, S., 1995, Das theatrale Potential des dramatischen Textes: Ein Betrag zur
Theorie von Drama und Dramenübersetzung, Tübingen: Gunter Narr.)
Virtualità scenica e ‘performability’
Pura traduzione testuale o resa del “gestic text”?
“A translation […] implicitly or explicitly contains the framework
for a particular mise en scène”.
(Hale, T., Upton, C.-A., 2000, “Introduction”, in Upton C.-A., Moving Target. Theatre
Translation and Cultural Relocation, Manchester: St. Jerome, pp. 1-13.)
[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”.
(Lombardo A., 1987, “Tradurre La Tempesta”, in Mettere in scena Shakespeare, Parma:
Pratiche, pp. 91-104.)
traduzione come estensione della stagecraft
(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.)
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.
(Johnston D., 2000, “Valle-Inclán: The Meaning of Form”, in Upton C.-A., Moving Target. Theatre Translation
and Cultural Relocation, Manchester: St. Jerome, pp. 85-99.)
The case against “performability”
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 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”
(Bassnett S., 1998, “Still Trapped in the Labyrinth: Further Reflections on Translation
and Theatre”, in Bassnett S., A. Lefevere, Constructing Cultures: Essays on Literary
Translation, Clevedon: Cromwell Press pp. 90-108.)
La determinatezza del performance text
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, p. 7)
Il sodalizio Lombardo/Strehler
per La tempesta (Piccolo Teatro, 1978)
• Uso di espressioni che mettono in evidenza l’aspetto metateatrale
dell’allestimento di Strehler.
• Ariel interpretato da Giulia Lazzarini doveva avere “una speciale,
femminea ma anche ambigua leggerezza”; al tempo stesso, “poiché
Ariel era in molte scene sospeso nell’aria grazie a un cavo e quindi
lontano dal pubblico, quel linguaggio doveva anche esser tale da
potersi sentire e capire ad una notevole distanza” (100).
Giulia Lazzarini
nel ruolo di Ariel
http://www.yout
ube.com/watch?
v=5q4KReYS3m
Q&hd=1
Determinatezza = riduzione della
gamma dei significati?
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 E., 1991, Transposing Drama, London: Macmillan, p. 2)