translateleavemealone

TousdroitsréservésLesPressesdel'UniversitédeMontréal,2004Cedocumentestprotégéparlaloisurledroitd'auteur.
L'utilisationdesservicesd'rudit(ycomprislareproduction)estassujettieàsapolitiqued'utilisationquevouspouvezconsulterenligne.
https://apropos.
erudit.
org/fr/usagers/politique-dutilisation/Cetarticleestdiffuséetpréservéparrudit.
ruditestunconsortiuminteruniversitairesansbutlucratifcomposédel'UniversitédeMontréal,l'UniversitéLavaletl'UniversitéduQuébecàMontréal.
Ilapourmissionlapromotionetlavalorisationdelarecherche.
https://www.
erudit.
org/fr/Documentgénéréle13mars202121:30MetaJournaldestraducteursTranslators'JournalToBeorNottoBeNatural:ClichésofEmotioninScreenTranslationVeraLúciaSantiagoAraújoTraductionaudiovisuelleAudiovisualTranslationVolume49,numéro1,avril2004URI:https://id.
erudit.
org/iderudit/009031arDOI:https://doi.
org/10.
7202/009031arAllerausommairedunuméroditeur(s)LesPressesdel'UniversitédeMontréalISSN0026-0452(imprimé)1492-1421(numérique)DécouvrirlarevueCitercetarticleSantiagoAraújo,V.
(2004).
ToBeorNottoBeNatural:ClichésofEmotioninScreenTranslation.
Meta,49(1),161–171.
https://doi.
org/10.
7202/009031arRésumédel'articleL'objectifdecetarticleestdeprésenterlesrésultatsdemathèsededoctorat,portantsurlatraductiondeclichésdel'anglaisaméricainversleportugaisduBrésil,àpartirdecinqfilmsdoublésetsous-titrés.
Lesclichés,nommésaussiexpressionstoutesfaitesoufigées,sontdesformulesemployéesparleslocuteursd'unecertainelangue,aupointoùellesensontdevenuesstéréotypesetlieucommun.
Plusde250clichésexprimantl'émotionontététrouvésdansnotrecorpus.
NousavonscherchéàdécrirelesnormesquirégissentlesmanièresdelestraduireauBrésil.
L'uned'elleressortnettementdenotreanalyse:l'absencedespontanéité,c'est-à-direquelestraducteursretiennentquelquefoisuneexpressionquin'estpasnaturelleenportugais.
Untelchoixs'expliquecertainementparlescontraintesdelatraductionaudiovisuelleetaussiparledésirdestraducteursdeproduireunetraductionfidèle.
ToBeorNottoBeNatural:ClichésofEmotioninScreenTranslationveralúciasantiagoaraújoSatateUniversityofCeará,Fortaleza,Brazilverasant@uece.
brRSUML'objectifdecetarticleestdeprésenterlesrésultatsdemathèsededoctorat,portantsurlatraductiondeclichésdel'anglaisaméricainversleportugaisduBrésil,àpartirdecinqfilmsdoublésetsous-titrés.
Lesclichés,nommésaussiexpressionstoutesfaitesoufigées,sontdesformulesemployéesparleslocuteursd'unecertainelangue,aupointoùellesensontdevenuesstéréotypesetlieucommun.
Plusde250clichésexprimantl'émo-tionontététrouvésdansnotrecorpus.
NousavonscherchéàdécrirelesnormesquirégissentlesmanièresdelestraduireauBrésil.
L'uned'elleressortnettementdenotreanalyse:l'absencedespontanéité,c'est-à-direquelestraducteursretiennentquelquefoisuneexpressionquin'estpasnaturelleenportugais.
Untelchoixs'expliquecertainementparlescontraintesdelatraductionaudiovisuelleetaussiparledésirdestraducteursdeproduireunetraductionfidèle.
ABSTRACTTheobjectiveofthisarticleistoreporttheresultsofmyDoctoralthesisthatinvestigatedthetranslationofAmericanEnglishclichésintoBrazilianPortugueseinfivedubbedandsubtitledfilms.
Clichés,alsocalledsituationalorroutineformulas,arethoseexpressionsusedbyspeakersofacertainlanguagewhichhavebecomestereotypedandcommon-placeduetorepetitiveuse.
Morethan250clichésexpressingemotionwerefoundinthecorpus.
ThestudyaimedatthedescriptionofthenormsthatregulatedBraziliantransla-tors'renderingoftheclichés.
Theanalysisrevealedthatonenormgovernedthetransla-tion,thatofabsenceofnaturalness.
Thatis,thetranslatorsometimeschoseanexpressionwhichisnotnaturalinPortuguese.
Thiswasmainlyduetotheconstraintsoftheaudiovisualsettingandthetranslator'swishtoproducea'faithful'translation.
MOTS-CLS/KEYWORDSclichés,dubbing,norms,screentranslation,subtitling1.
IntroductionScreentranslationisaveryprominentactivityinBrazil,asmanyforeignfilmsareshownthroughcinema,homevideoandtelevision.
Themostcommonmodesoftranslationusedaredubbingandsubtitling.
InopenTVdubbingispreferred,whereasincableTVbothmethodsappear.
Subtitlingprevailsinthecinema,wheredubbingisrestrictedtochildren'sfilms.
Suchavastamountofaudiovisualproductionstorenderdemandsalotofeffortonthepartofthetranslators,because,atleastinTVandhomevideotranslations,theydonothavemuchtimetodotheirjob.
Asaconsequence,theyhavetofaceallthedifficultiesinvolvedintheirworkveryquickly.
Oneoftheseproblemsisdealingwiththelanguagepresentinforeignproductions,especiallytheexpressionswhichareveryspecifictoacertainculture.
Meta,XLIX,1,200402.
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Fin18/03/04,11:52PM161162Meta,XLVIII,3,2003162Meta,XLIX,1,2004Clichés,alsocalledsituationalorroutineformulas,formulaicspeech,stereotypedexpressions,conversationalorlinguisticroutines,amongothers,arethoseexpressionsusedbyspeakersofacertainlanguagewhichhavebecomestereotypedandcommon-placeduetorepetitiveuse(Tagnin,1989:57).
Quotations,setphrasesandproverbsarethosewhichmostcommonlyappearasclichés.
Clichéexpressionshavelosttheiroriginalmeaning,acquiringafunctioninsocialinteractionsandcommunication.
Forexample,theexpressionGodblesshissouldoesnotmeanwhatitusedto,thatis,itisnotjustaboutsomeoneaskingGodtoblessaperson'ssoul.
Nowadays,thisexpressionismainlyusedtorefertothedead.
PeopledonoteventhinkofGod'sblessingwhentheyaresayingit.
Itessentiallyindicatesthatthepersonwearetalkingaboutisnolongeramongtheliving.
Zijderveld(1979:10)saysthatthecliché"stimu-latesbehaviour(cognition,emotion,volition,action),whileitavoidsreflectionsonmeaning.
"Inotherwords,theauthorsaysthatwheneveraclichéisusedthereisa"supersedureofmeaningbyfunction.
"Orallanguageexpressionsareveryfrequentinourdailyconversationsandre-flectourculturalexperience.
Asaconsequence,someofthemareverytypicalofacertaincommunity.
Filmdialogues,beingasimulationoforalconversation,arefullofsuchexpressionsandtheirtranslationmaycausealotofdifficultiestosubtitlinganddubbingtranslators.
ThisarticleaimsatreportingtheresultsofmyDoctoralthesisthatinvestigatedthetranslationofAmericanEnglishclichésintoBrazilianPortugueseindubbedandsubtitledfilmsmadeforhomevideoandtelevision.
Sincetherearedifferentkindsofclichés,whichwouldmakeacomprehensiveanalysisdifficult,Ichosetoanalyzethoseexpressingemotion.
FiveAmericanfilms–WaroftheRoses(1989),Mrs.
Doubtfire(1993),Bye,Bye,Love(1995),FirstWivesClub(1996),andHomeArrest(1996)–wereselectedbecausetheydealtwithdivorce,asubjectthattriggeredalotofdistinctkindsofemotions.
Morethan250clichésexpressinglove,joy,anxiety,sympathy,guilt,sorrow,anger,sur-prise,andironywerefoundinthecorpus.
TherenderingoftheseclichésinPortuguesewasanalysed,consideringthedifferentkindsofconstraintsfacedbyfilmtranslators.
Theaimofthestudywasthedescriptionofthenormsthatregulatedtranslators'renderingoftheclichés.
ThemainhypothesistobetestedwasthatsomeexpressionsweretranslatedliterallyandwerenotnaturalchoicesofBrazilianPortuguesespeakersinthatspecificsituation.
2.
FilmtranslationinBrazilAsthelimitationsofscreentranslationwereconsideredintheanalysis,itisrelevanttodiscusstheelementswhichaffectitsproduction.
Onlylipsyncdubbingandsub-titlingwillbementionedhere,becausetheywerethemethodsoftranslationusedtotranslatethefivefilms.
Abriefdescriptionoftheirmechanicswillbegiven,inordertoshowtheirinfluenceinthetranslation.
Lipsyncdubbinginvolvesteamworkperformedbydifferentprofessionals.
First,thetranslatorisgivenatime-codedtape(aworkingcopyequippedwithatimecodereaderorTCR)andthedialoguelist.
Then,thedubbingdirectorselectsthecastofdubbingactorsandtherecordingisdone.
Finally,theeditormixesandeditsthenewvoices.
AccordingtoLuykenetal.
(1991:74),thetaskofdubbingtranslatorinEurope02.
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Thespottingistheindicationofthe"beginningandendoftimecodesofeachenunciation.
"Therawtranslationistherewritingofthedialoguelistinthetargetlanguage,butwithoutadaptingthetranslatedtextintothelipmovementsoftheoriginal.
Thisadaptationwillbedonelaterbyascreenwriter.
InBrazil,dubbingtranslationisthesolerespon-sibilityofthedubbingtranslator.
S/heistheonewhospotsthefilm,observesthelipmovementsoftheoriginaltextandsynchronizesitwiththetranslatedtext.
S/hemustalsoindicateinwhichpageofthedialoguelisteachcharacterappears,inordertoguidetheworkofthedirectorandtheperformanceoftheactors.
Thisiscalled"dub-bingmirror"inthedubbingjargon.
Naturally,thefactthatthetextcanbemodifiedbytranslators,actorsanddirec-torshasalotofimplicationsforthetranslation.
Thetextproducedbythetranslatormaynotsuitthelinesofaspecificcharacterandthedirectorandactorsadaptitfordubbing.
Butnotonlythesepeopleinfluencetheprocessoftranslation,thedistribu-tor,thedubbingstudioowner,thecriticsandtheaudiencealsomustbetakenintoconsiderationbeforethetranslationisreleased.
So,itisnotpossibletoanalyzethiskindoftranslationwithoutconsideringtheselimitationsimposedbytheaudiovisualsetting.
Likedubbing,subtitlinghasitsownconstraints.
Whileindubbing,lipsyncisthemainlimitation,insubtitlingspaceandtimemandates.
Thediagrambelowpro-posedbyAlvarenga(1998)showsthemechanicsofsubtitlingforTVandhomevideoinBrazil:Subtitling→Spotting→Revising→Subtitling(Editing)(Recording)↓↓↓↓SubtitlerSpotterReviserSubtitler(Translator)(Technician)Braziliansubtitlingcompaniesusuallydonotgivethetranslatorsaccesstosub-titlingsoftware.
Instead,theyinstructthemtomakeakindofsimulationofthissoftwarebyusinganordinarycomputerprogramme,likeMicrosoftWord,fontTimesNewRoman,size10.
ThetranslatorsareaskedtoregulatetheMicrosoftWordtoacertainsize,soastoimitatethesubtitlingsoftwareformat.
So,subtitlerswiththehelpoftheTCR,spotthebeginningandtheendofthetitles"virtually"andtypetheminaformatwhichisanapproximationofthesubtitlingprogramme.
AnexampleofthetranslationofasequenceofMrs.
Doubtfire(1993)isshownbelow.
Thesequencehasfourtitles.
Thefirstisatranslationofathree-secondspeechandthesubtitlerhasabout45characterstocarryoutthetask.
Thesecondisadialoguespokeninapproxi-mately1.
5s(about15characters).
Thethirdandfourthwereone-secondtitles(about16characters).
Theformat(size4.
75,leftaligned)wouldbethefollowing:Thosewhodon'tfollowtheQuemnoseguiroschedule,willbepunished.
horárioserápunido.
–Punished–Punido–She'slying–Elaestámentindo.
tobeornottobenatural:clichésofemotioninscreentranslation16302.
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Elanuncanospuniria.
Don'tfusswithme!
Nosemetacomigo.
Thespottingisdonebyanotherprofessional.
Thespotterisnotaprofessionaltranslatorand,inmostcases,doesnotknowtheforeignlanguage.
Yet,s/heisallowedtochangeanytranslationwhichdoesnotfitthesoftwarespecifications.
Asaconse-quence,thesubtitlertriestobeasaccurateaspossiblesothathischoicesarenotchanged.
Afterspotting,thetextisrevisedbysomeonewhomaynotbeawareofthenatureofthiskindoftext,likeaBrazilianPortugueseteacher,forexample.
However,somesubtitlingcompanieseliminatethisstagewhentheydealwithaveryexperi-encedsubtitler.
Whenthetextisfinallytranslated,spottedandrevisedthetitlesarerecorded(thetermcurrentlyusedis"burned")onthetape.
Thisjobisdonebyatechnicianwho,likethespotter,maynotunderstandtheforeignlanguage,butcanmakeanychangesneededinthetext.
Aswecansee,subtitlingisalsoteamwork,andthisfactcanaffectthetranslationalot,nottomentionotherfactorsthesubtitlerhastohandle(linguis-ticaspects,time-characterrelationship,highdegreeofcondensationandomission,andspeech-image-titlesynchronism).
AlltheseconstraintsmadeLuykenetal.
(1991:153-5)wonderifscreentransla-tioncanreallybegiventhestatusoftranslation.
Theypointoutpiecesofevidencetotrytoprovetheirpoint.
First,theysaythattranslationisthereplacementofacertainmessageand/orstatementinonelanguagebythesamemessageand/orstatementinanotherlanguage.
Themessageofanaudiovisualtextisformedbyawholecom-posedofimage,sound,language,andactors'performance,amongotherelements.
Thetwomodesofscreentranslationwouldalteronlyoneoftheseelements,dub-bing,thesound,andsubtitling,thelanguage.
Second,anaudiovisualtextcannotberenderedliterally,asitneedstobe"interpreted"allthetime.
Third,anaudiovisualtext,oncetranslated,isusuallyshorterthantheoriginal;sometimesithastobemodifiedinordertobeappreciatedbyacertainaudience.
EventhoughLuykenetal.
'sargumentsarebasedonaviewnotsharedbymosttranslationresearchersnowadays,theydiscussveryrelevantaspectsconcerningthetranslator'staskanddistinguishconventionaltranslatorsfromscreentranslators:Everytranslatormusthaveaprofoundunderstandingofthenuancesofthesourcelanguage,agoodwritingskillinthetargetlanguage(whichisusuallyhisorhermothertongue)andadetailedknowledgeofthecultureofthecountryorcountriesinwhichthesourcelanguageisspoken.
TheLanguageTransferworkerorteam,however,musthaveallofthesequalitiesand,inaddition,anempathywiththenewaudienceandanunderstandingoftheaudiovisualmedia.
TheLanguageTransferworkermustbeabletodiscernwhattelevisionviewersdoordonotrequireinthewayofadditionalinforma-tioninordertounderstandandenjoytheprogramme.
InLanguageTransfer,morethaninconventionaltranslation,thereisaneedforanaccurateappreciationoftheknowledgewhichtheaudiencemightbeexpectedtohaveornottohave.
Inmyopinion,whattheysayaboutscreentranslationistruetoallkindsoftranslation.
Recentstudiesshowthattranslationnotonlydealswithlinguisticaspects,butalsowithotherelements(context,targetaudienceandtargetculture),astheyaffectthefinalresult.
So,allkindsoftranslatorsareboundtofacemanydifferentcon-straints,butforthescreentranslatorstheselimitationsaremorevisible.
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TheclichésofemotionAfterbeingcollected,theclichéswereorganisedindatarecordfilescontainingrel-evantinformationfortheirdescriptionandanalysis,suchasfunction,context,andtranslation,amongotherinformation.
Theywerethencategorized,accordingtotheemotiontheyexpressed.
Someexamplesoftheseclichéscanbeseenbelow(thefilmswillbeidentifiedbythefollowingnotations:Mrs.
Doubtfire(F1),HomeArrest(F2),Bye,Bye,Love(F3),FirstWivesClub(F4),WaroftheRoses(F5):a)angerMorethan60occurrencesofthiscategorywerefound.
Thecharactersexpressedtheirangerbymeansofinsults,threatsandswearwords:Don'tyoudare(F1),Goddamnyou,Dumbbastard,Stinkingbitch(F5).
b)anxietyTheanxietyclichésshowhowanxiousandrelievedsomeofthecharacterswere:She'sgonnakillme(F2),ThankGod(F3),(F4),(F5),OhShit(F1),What'swrong(F4).
c)guiltHerewehavedifferentvariationsofthesamecliché:Thisisallmyfault(F1),Itwasmyfault(F2).
d)ironyEventhoughironycannotbeconsideredanemotion,someemotionclichésfoundinthecorpuswereusedironically.
Forexample,Bemyguest(F4)isnotapoliterequest,butaresponsetoathreatbysayingthatoneisnotafraid.
Otherexamplesare:Areyoukidding(F1),Don'tbother(F5),Lookwho'shere(F3).
e)joyTheaimofthecharacterswastobepolite,showhowhappytheywereinseeingsomeone,makeacomplimentorindicatetheywereinagoodmood:It'sapleasuretoseeyouagain(F1),I'msohappytoseeyou(F3),Youlookgreat(F4),Whatalovelyday(F2).
f)loveThiscategoryincludestheclichésinwhichthecharactersdemonstratetheiraffectionforoneanother:Iloveyou,Icherishyou(F4),That'smygirl,Lookhowsweetsheis(F3).
g)sorrowSorrowclichéswereverycommoninthecorpus.
Theyshowedthewayparentsandkidsfeelduringadivorce:Don'task(F1),Ireallyamsorry,Goodolddays(F3),It'sallover(F4).
h)surpriseSomeexamplesofpositive(better-than-expectedsituation)andnegative(contrary-to-expectedsituation)surprisewereobserved(Kryk-Kastovsky,1997:158).
Someoftheseclichéswere:Lookatthis,Lookatthisplace(F1)(positivesurprise),Thisisabsurd(F5),OhmyGod(F4)(negativesurprise).
i)sympathySympathyforotherpeople'spainwasdisplayedin45clichés,suchas:Staycalm,What'swrong(F4),Everythingisgonnabefine(F3),Hanginthere(F5).
tobeornottobenatural:clichésofemotioninscreentranslation16502.
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ThetranslationofclichésThestudyaimedatsearchingthenormsthatgovernedthetranslationofclichésofemotioninscreentranslation.
Inordertodothis,thestrategiesusedbyscreentrans-latorsinrenderingtheseclichéswereexaminedtoconfirmorrejectthehypothesisthatthetranslationswerenotnatural.
TheanalysisinferredthatBraziliantranslatorsusedfivestrategiestomeetthedemandsinvolvedintheirtask.
Fourstrategiesshowedthattheabsenceofnaturalnessisthenorm:a)thecreationofgrammaticallycorrectexpressions,whichdonotsoundnativelikeinPortuguese;b)thetranslationofclichésintosomeexpressionsthatarenotclichésinBrazilianPortu-guese;c)theminimisationoftaboowords;d)theuseofformallanguageinsubtitling,whichdoesnotsuittheoralaspectofafilmdialogue.
Thisbehaviourwasmainlycausedbythetranslator'swishtoproduceafaith-fultranslation.
Thissearchforliteralitywasinfluencedbythepressureexertedbyfilmdistributors,subtitlingcompanies,dubbingstudios,otherprofessionalsinvolvedinfilmtranslation,televisionandhomevideoviewers,andfilmcritics,whowanttransla-tionstobeasclosetotheoriginaltextaspossible.
Thefirststrategyrevealedthattranslatorstendedtocreatenewexpressions,thataccordingtoPawleyandSyder(1983:193)weregrammaticalbutunnatural:Theproblemweareaddressingisthatnativespeakersdonotexercisethecreativepotentialofsyntacticrulestoanythingliketheirfullextent,andthat,indeed,iftheydidsotheywouldnotbeacceptedasexhibitingnativelikecontrolofthelanguage.
Thefactisthatonlyasmallproportionofthetotalsetofgrammaticalsentencesarenativelikeinform–inthesenseofbeingreadilyacceptabletonativelikeinformantsasordinary,naturalformsofexpression,incontrasttoexpressionsthataregrammaticalbutarejudgedtobe'unidiomatic,''odd'or'foreignisms.
'However,thefactthatthenewexpressionsaregrammaticaldoesnoteliminatethepossibilitythattheywillbecomeaclichéinPortuguese,duetotheirrepetitiveuse.
Theanalysisconsideredthattheseexpressionsmaynotbenaturalatthemoment,butmaybecomesointhefuture.
Thishappenedtoskeletonsinthecupboard(esqueletosnoarmário),whichappearedinthesubtitledversionofFourWeddingsandaFuneral(1994).
Thetrans-lationwashighlycriticisedbyaweeklymagazinearticle,sayingthatthesubtitlerhadmadea"mistake.
"Theargumentwaslackofequivalenceandunfaithfulnessonthepartofthetranslator.
Believingthatthereisaone-to-oneequivalencebetweenlan-guages,thearticlesaidthetranslatordidnotusethe"right"expression,preferringa"literal"translation.
Whattheycall"literal"is,infact,theirinterpretationofwhatis"correct"inthecontextofthefilm.
Itisobviousthattheuseofsuch"literal"expres-sionsisstrangetous,BrazilianPortuguesespeakers,butitisdangeroustotalkaboutmistakes,becausethesetranslator-createdexpressionsmayinthelongrunbeusedroutinely,asisthecaseofesqueletosnoarmáriowhichwasseenintwootherarticleslaterpublishedinthesamemagazine.
ThefirstarticleisabouttheperiodofthemilitarygovernmentinBrazilwhich,accordingtothereporter,isstillaskeletoninthecupboardofthecountry(1998).
Thesecondshowsafashiondesignerwhokeepsrealskeletonsinhiscupboards,becausetheyprovideinspirationforhiswork(he02.
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However,inspiteofthe"literal"use,wecanperceivethereferencetotheEnglishexpression.
ThisexpressionisnowhighlyusedintheBrazilianpress,anditdoesnotcausethesamekindofresponseitoncedid.
OnecouldsaythatitisbecomingaclichéinBrazilianPortuguese.
Bamba(1996:03)claimsthatexpressionsdeemedstrangetotargetlanguageviewersoftenappearinthesubtitlingtext,forthiskindoftranslationdemandsalotofadaptationonthepartofthetranslatorwho,asaconsequence,thinksitsafertoremainclosertothesourcelanguage.
Inotherwords,subtitlerstendtocreateexpres-sionsinthetargetlanguagewhichareverysimilartotheonesinthesourcelanguage.
TherenderingofThatwouldmakemyday(F1)isagoodexampleofoneoftheseexpressions.
ItwastranslatedbyIafazeromeudiainthesubtitledversion(SVfromnowon),insteadofAí,sim,euganhavaodia(Iwouldwintheday),morecommoninthiskindofsituation.
NowadayswecansaythataBrazilianwouldhardlyunderstandsuchanexpression.
However,thetwodubbedversions(DBfromnowon)usedtwodifferentexpressionswhicharenotclichés,buttheywouldnotbeasstrangeastheoneusedinSV:Istocompletariaomeudia(Thatwouldcompletemyday),Istoiaalegraromeudia(Thatwouldcheerupmyday).
ButinspiteofthestrangenessofIafazeromeudia,oneneverknowsifitwilleverbecomeaclichéinBrazil.
Thetablebelowpointsoutsomeofthesecreatedexpressions.
ItalsoshowswhatwouldbethenaturalchoicesinthatspecificsituationforBrazilianPortuguesespeakers.
Mostofthemweretakenfromothertranslationsinthecorpus,exceptforthetranslationofHowtragic,inwhichallversionsusedtheunnaturaltranslation:ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéHowtragic(F1)Quetrágico(SV,DV1,DV2)Quetragédia(Whatatragedy)Don'task(F1)Nempergunte(SV,DV1)Nemfala(Don'teventalktome)(DV2)Howlovely(F1)Queadorável(SV),Queótimo(Hownice)(DV1)Quebonito(SV)Quebeleza(Howbeautiful)(DV2)Godblesshissoul(F1)QueDeusabenoeasuaalmaQueDeusotenha(MayGod(DV2)keephim)(SV)Queeledescanseempaz(Mayherestinpeace)(DV1)Mayherestinpeace(F3)QuefiqueempazQueeledescanseempaz(Mayhebeinpeace)(Mayherestinpeace)(DV)Thesecondstrategyoftranslationiscloselyrelatedtothepreviousone,asitinvolvesthatkindofsituationinwhichthereisastrongexpectationofacliché.
Thissituationissohackneyedthatnotusingaclichéisverystrange.
Unlikethepreviouscase,themainreasonfornotusingaclichémaynotbethesearchforliterality.
Theaspectaffectingthetranslationwastechnical.
Forthesakeoflipmovementsynchro-nism,dubbingusednon-clichéexpressionsintheirtranslations.
Forexample,therenderingofGoforitintoReaja(React)andnotintoVáemfrente(Goahead)orVáàluta(Gofightforit).
Below,somemoreexamples:tobeornottobenatural:clichésofemotioninscreentranslation16702.
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Fin18/03/04,11:52PM167168Meta,XLVIII,3,2003168Meta,XLIX,1,2004ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéGivemefive(F1)Bateaqui(Slaphere)Tocaaqui(DV2)(SV,DV1)Don'tbesilly(F3)NofazissonoNosejabobo(SV)(Don'tdothis)(DV)EverythingisgonnaIssovaidarcerto(ThisisVaidartudocerto(SV)befine(F3)gonnabeallright)(DV)Don'tyoudare(F4)NofaaissonoNoseatreva(SV)(Don'tdothis)(DV)IwishIcould(F4)Eugostaria(I'dloveto)(DV)Quemmedera(SV)Thethirdstrategyinvolvesthetranslationoftaboowords.
Inbothsubtitledanddubbedversionstheyareminimized,becauseofpressuresexertedbyfilmdistribu-tors.
Theyclaimthattheiraudiencewouldnotliketo"hear"or"read"swearwords.
Asaconsequence,subtitlingcompaniesanddubbingstudiosinstructtranslatorstominimizethembyusingwordswhicharenotoffensivetotheaudience,especiallytheopenTVviewers.
Thisattitudeonthepartofthedistributorsgivestheimpressionthatforeignfilmshavenoswearwords,whileBrazilianproductionsarefullofthem.
However,thissituationisbeginningtochange,ascinemaandsomehomevideotrans-lationsarestartingtousenaturalswearwordsinBrazilianPortuguese.
Forinstance,theymightnottranslateFuckyou,Shit,andSonofabitchbyVásedanar,DrogaandFilhodame,respectively.
Instead,theywouldbeallowedtousethenaturalchoicesofaBraziliannativespeakerinthiscontext(Vásefoder,MerdaorFilhodaputa).
Someotherexamplesofthisminimizationare:ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéScrewtheworld(F4)Dane-seomundoFoda-seomundo.
(Damntheworld)(SV,DV)Pissoff(F1)Vásedanar(Damnyou)(SV),Vaisefoder.
Vátomarbanho(Youtakeashower)(DV1),Dane-se(Damnyou)(DV2)Stinkingbitch(F5)Vacafedorenta(stinkingcow)Suaputa.
(SV),Suadesgraada(DV)(Youidiot)Slut(F5)Piranha(Tart)(SV),CadelaSuaputa.
(Femaledog)(DV)Fuckface(F5)Droga(Damnyou)(SV),Seuporra.
Palhao(Clown)(DV)Thefourthandlaststrategythatprovesthehypothesisthattheunnaturalnessnormprevailsintherenderingofclichésreferstolanguageusage.
Itisappliedmoretosubtitlingthantodubbing.
Althoughsomeinstanceswerefoundindubbing,itwasinsubtitlingthatformallanguageappearedmorefrequently.
Thismaybeexplainedbythefactthatsubtitlingisexhibitedintheformofwrittenlanguage,whichmakesthe02.
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Fin18/03/04,11:52PM168professionalsinvolvedbelievethatitmustfollowthesamerulesofwrittenlanguage.
Evenifsubtitlersviewthesituationdifferently,itishardtoconvincedistributorsandsubtitlingcompaniesthatthelanguageusedtotranslateafilmisusuallycolloquial.
Dubbing,ontheotherhand,doesnotfacethisdifficulty,asitistheoraltransla-tionofanoraltext.
Consequently,therenderingsaremorenatural,asdubbingtrans-latorsareencouragedtousecolloquiallanguage.
Moreover,itwouldbestrangefortheactorsanddirectorstodubatextinwhichformallanguageprevails.
Somegram-maticalaspectssuggesttheformalismofsubtitlingandthecolloquialismofdubbing.
Therefollowsomeexamplesoftheseaspects.
–ThepositionoftheobjectpronouninthesentenceBrazilianandEuropeanPortuguesedifferconsiderablyastothepositionoftheob-jectpronouninthesentence.
FortheEuropeans,thispronounalwaysfollowstheverbineitheroralorwrittenPortuguese.
ForusBrazilians,itistrueonlyinwrittenlanguage,aswetendtoplacetheobjectpronoundifferentlywhenspeaking.
Inotherwords,inspokenBrazilianPortuguesethepronounprecedestheverb.
ThisisthecaseofthetranslationofLeavemealone(F3).
ItwouldbeoddforaBrazilianteenagegirltosayDeixe-meempaz,insteadofthecolloquialMedeixeempaz.
Sometimessubtitlerstrytofindalternativestothesenon-colloquialexpressionsbyreplacingthemwithotherexpressions.
Theseexpressionsarebasedonthesourcelanguageand,aswasalreadymentioned,theresultisstillunnatural,asthefollowingtableshows:ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéBackoff(F1)Paratrás(SV)Semanda(DV1,DV2)IreallyamsorrySintomuitíssimo(SV)Medesculpe(DV)–ThealternationofthesubjectpronounsTu(you)andVocê(you,secondpersonsingularconjugatedasthird)ThisisanothergrammaticalaspectwhichistypicalofBrazilianPortuguese.
WhileexchangingTuandVocêisnotadvisableinwriting,itishighlyexpectedinspeaking.
So,whenaddressingsomeone,Brazilianstendtoalternatetheuseofthetwopronouns(EsquecetuouEsqueavocê(Forgetit)).
ThiskindofalternationcannotbeheardinPortugal,wherethepronounmostcommonlyheardisTu.
Subtitling,inordertoavoidsuchamistake,usesonlyVocê,whiledubbingalternatesthetwopronouns:ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéForgetit(F3)Esquea(SV)Esquece(Tu)(DV)ItwasgoodtoseeFoibomrevê-la(SV)Bomvervocê(Você)(DV)youagain(F1)Bomtever(Tu)–TheusageofthereducedformsoftheverbEstar(tobe)andtheprepositionPara(at,fororto)Asthesegrammarfeaturesappearincolloquiallanguage,theycanonlybeobservedindubbedversions:tobeornottobenatural:clichésofemotioninscreentranslation16902.
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Fin18/03/04,11:52PM169170Meta,XLVIII,3,2003170Meta,XLIX,1,2004ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéShelookswonderful(F4)Elaestámaravilhosa(SV)Elatáótima(DV1)Elatápoderosíssima(DV2)Lookather(F3)Olhemparaela(SV)Olhempraela(DV)–TheusageofthesubjectpronounasacomplementandtheuseofAgentereplacingNós(we).
UsingthesubjectpronouninobjectpositionandtheexpressionAgenteareregardedasgrammaticalmistakesinwritten,butnotinspokenlanguage,wheretheyarelargelyused.
Again,theycanbefoundindubbedversionsbutnotinsubtitledones:ExpressioninEnglishUnnaturalTranslationBrazilianPortugueseclichéI'llkillhim(F3)Euomato(SV)Eumatoele(DV)WeshouldseeeachDevíamosnosvermais(SV)Agentedeviasevermais(DV)othermore(F3)Weshouldemphasizethatthechoicesmentionedhereweremadenotonlyforthereasonspointedout.
Forinstance,thereasonwhythesecondclichémentionedaboveisunnaturalmighthavebeenthespeech-title-imagesynchrony,insteadoftheavoidanceofthecolloquialAgente.
Thisistrueofalltheotherstrategiespreviouslydiscussed.
However,regardlessofthecause,themostrelevantaspectofthisstudyisthatitreinforcestheneedtoexaminethefactorsaffectingscreentranslationinordertocarryoutresearchinthisarea.
5.
ConclusionTheDoctoralresearchreportedhereinvestigatedthetranslationof250clichésintoBrazilianPortuguesetofindoutthetranslationalbehaviourofBrazilianscreentranslators,concerningtherenderingoftheseclichés.
Theanalysisshowedthattranslatorstendedtousenon-clichéexpressionsduetotheconstraintsoftheaudio-visualenvironment.
However,whentheselimitationsallowed,somenaturaltransla-tionswereproducedasthestudyindicatedthat143clichésareinthissituation.
Inconclusion,Ihopethisresearchisacontributiontothediscussiononthetranslationofclichésinaudiovisualproductions.
Perhapstheresultswillbeofuseasareferenceforscreentranslators.
Itismyintentiontotransformthemintoaglos-sary,givingsuggestionsfortherenderingofclichés,consideringlipmovementandspeech-title-imageindubbingandsubtitling,respectively.
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