Music to my ears, but words to my eyes? Text, opera and their audiences

Desblache, Lucile

doi:10.52034/lanstts.v6i.185

Cited by 9 publications

(1 citation statement)

References 5 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…"Opera was born of a need to make words more prominent in vocal music and to express emotions through their musical setting" (Desblache, 2007).…”

Section: "Imola" Children's Operamentioning

confidence: 99%

Multilingual Translation of the Children’s Opera “Imola”

Maric¹

2022

Évkönyv

View full text Add to dashboard Cite

The focus of this research paper is on the process of multilingual translation of the libretto of the Children's Opera Imola, by Ferenc Kovac. The story of the opera was designed to nurture the cultural heritage of the town of Subotica (Vojvodina, Serbia, Europe) and the 150th anniversary of the existence of windmills in Mali Bajmok, and the last standing out of the eleven buildings (built around 1862), that provided the finest white flour to people in this part of Europe. The cultural heritage story is presented symbolically through a family with eleven children, the youngest of whom is a girl called Imola, curious and always ready for adventures through which she will learn about history, people (e.g. Ivan Sarić, athlete and pioneer of aviation in Eastern Europe) and beautiful buildings in Subotica. Through a theoretical review analysis, the various forms of translation associated with music-linked translation (MLT), specifically, opera and the main challenges they entail are discussed. A descriptive and contextual approach was applied in the research to present the process of translating from Serbian to English, as a lingua franca, and Italian language as 'the opera's language of origin', 'main operatic language' and 'an international language of music', opening to international youth audiences and future performances. The translations of this children's opera can offer a unique opportunity for creative and interactive learning, as well as possibilities for digital media application and creative works of students in performing and researching music and language intersections through arts. Additionally, from the standpoint of music pedagogy and musicology, the contribution of this research study can be seen in supporting the children's opera and opera in general, as a global art form, promoting multilingualism and multicultural values.

show abstract

“…"Opera was born of a need to make words more prominent in vocal music and to express emotions through their musical setting" (Desblache, 2007).…”

Section: "Imola" Children's Operamentioning

confidence: 99%

Multilingual Translation of the Children’s Opera “Imola”

Maric¹

2022

Évkönyv

View full text Add to dashboard Cite

show abstract

Multilingualism, Music and Gendered Roles in Unorthodox

Corrius

Espasa

2022

MOaP

View full text Add to dashboard Cite

Through a multidisciplinary approach that combines translation studies and gender studies, this paper analyzes multilingualism in the series Unorthodox (Netflix 2020). We examine the presence and functions of identities and gendered roles in the series. Unorthodox tells the story of Esther Saphiro (Esty), a young Jewish woman who flees from her country and leaves her ultra-Orthodox community, with very strict rules and traditional gender roles. We explore the connections between the gendered roles of the main characters, their cultural or social contexts, and, especially, the role of third languages in the series (Yiddish, German, Russian, and Hebrew). As it is a German-American production, we consider English as its main language (L1) because the story is directed to mainstream Western audiences. The role of third languages (L3) is very relevant in depicting the intercultural encounters in the series. Yiddish is the most prominent L3 followed by German and a little Russian and Hebrew. The most recurrent functions of L3-instances are signaling otherness and character portrayal, where Yiddish and German are used. Hebrew is used for ceremonies, prayers and songs, and it portrays Jewish characters in their traditional contexts. We pay special attention to songs, as rich L3 instances, where there is interaction of L3 function, gender significance, translation strategies, and narrative roles. The translation of songs shows the relative importance of conveying the word or the music. Finally, the identification of third languages is not marked in the subtitling of either songs or dialogues; therefore, language diversity can be hindered for audiences not discriminating between the various languages.

show abstract

The Paramount Role of Translation in Modern Opera Productions

Ożarowska

2017

View full text Add to dashboard Cite

Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions.

show abstract

Music to my ears, but words to my eyes? Text, opera and their audiences

Cited by 9 publications

References 5 publications

Multilingual Translation of the Children’s Opera “Imola”

Multilingual Translation of the Children’s Opera “Imola”

Multilingualism, Music and Gendered Roles in Unorthodox

The Paramount Role of Translation in Modern Opera Productions

Contact Info

Product

Resources

About