Challenges and Rewards of Libretto Adaptation

Desblache, Lucile

doi:10.1057/9780230234581_6

Cited by 5 publications

(1 citation statement)

References 2 publications

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“…Even though opera surtitling has proven to be very useful, it may not be universal and appropriate in every context: a good example may be operetta which is hardly ever staged other than in the language of the audience. Along the same line, Low (2002) or Desblache (2009) argue that direct translation seems a better solution in the case of, for instance, summer festivals, teenage spectators or comic operas, where close contact with the audience is intended.…”

Section: Constraints On Opera Surtitlingmentioning

confidence: 99%

Constraints on Opera Surtitling: Hindrance or Help?

Rędzioch-Korkuz

2018

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The article addresses the problem of constraints typical of opera surtitling, an audiovisual translation modality that seems rather neglected as far as the academic discourse is concerned. Although the term constraint may appear to have mainly negative connotations, it seems that the idea of a constraint may often prove helpful, since it may facilitate the process of translation by restricting the scope of possibilities and hence justify the chosen techniques. The article is meant to propose a classification of potential constraints on the surtitling process, including the constraint of a live performance, music, audience design or relevance, and the resulting implications for the whole process. It is argued that the awareness of the constraints operating in the process of drafting surtitles helps to understand the rationale behind this particular translation activity and consequently helps to draft good quality surtitles which serve their original purpose.

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Section: Constraints On Opera Surtitlingmentioning

confidence: 99%