Song translation over time: a digital analysis of Italian-dubbed animated musical comedies 1959-2019

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This project develops a synchronic screenshot, building on Bassnett (1998), to provide the first sustained empirical investigation into translation strategies used in Italian dubbed Animated Musical Comedies (1960-present). It examines 25 songs selected from 16 animated musical comedies, which have (a) made an emblematic contribution to the Italian creative industries and/or (b) recently spurred major remakes: Mary Poppins (1964), The Aristocats (1970), Robin Hood (1973), Beauty and the Beast (1991/2017), Aladdin (1992/2019), The Nightmare before Christmas (1993), The Swan Princess (1994), The Lion King (1994/2019), Anastasia (1997), Hercules (1997), The Prince of Egypt (1998), Shrek 2 (2004), Frozen (2013). Given the current resurgence of remakes, often exploiting star talent, understanding how translations/performances create in tune cultures makes this research relevant and timely. I will establish a new interdisciplinary approach to analyse Italian translators' activity as adapters, and the effect of performance (including casting) on the dubbing process, specifically in terms of voice analysis (including word stress, repetition patterns). What are the implications of Renzo Montagnani's voice replacing Phil Harris' in the character of Romeo/O'Malley in Gli Aristogatti? Do listeners perceive the change of actor for spoken/sung voices in the Italian dubbed version of the Aladdin remake? The originality of this research has implications for voice performance/interpretation, and audience response to mass/pop culture texts in an increasingly English-speaking society dominated by social networks.My interest in live/recorded voice within translation practices stems from my Master's research. In my MA dissertation, I discussed translation's role in theatre adaptation and stage performance. My thesis included my own Italian translation of the playtext used for the National Theatre adaptation of Frankenstein by Danny Boyle, and a critical commentary using key translation and adaptation theory (Bassnett, 1998; Hutcheon, 2006) pertinent to my PhD project. This expertise is supported by musical training in pop singing and classical music: I hold certificates in music theory, piano, and viola from Cosenza Conservatoire and Viterbo Music School. Building on this skillset, I intend to develop the proposed PhD project in order to extend my MA research and question the complex interrelations connecting the mechanisms of translation/adaptation and performance, specifically in song translation and audio-visual dubbing, and the cultural implications of the unequal power relationship between Anglophone and Italian cultural contexts. The expertise of my supervisors (Prof. Abbott, Dr Mével, DrTyler) in word-music relations, audio-visual translation, and digital media, will provide the ideal support framework for my project.