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 spazio-temporale 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.youtube.com/watch?v=5q4KReYS3mQ&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)