'Operatic Translaboration: Collaborative Translation, Singability and Interpretation

这个跨学科的博士专注于歌剧剧本的翻译，以达到专业培训、演唱和表演的目的。它采用了一种创新的翻译方法，将其作为一种合作活动，利用其在较少研究的歌剧翻译领域的优势。翻译不再是译者作为第二作者单独工作的历史视野，而是多个或联合的“翻译”(Jansen and Wegener，2013，5)。这项研究将涉及合作翻译、共同创作和测试歌剧文本，与经验丰富的歌剧专业人士(翻译、戏剧家和钢琴家)以及新一代歌手合作。它还旨在阐明现有的做法，使明天的艺术家认识到合作翻译的未知潜力，最重要的是，影响未来歌剧领域的培训和专业活动。由于歌剧剧本的多元性和多重目的，翻译歌剧剧本特别具有挑战性。歌手可能需要直译、诗词版本、音标或可唱的重写才能用白话表演。无论目的是什么，歌剧文本的翻译者本质上是在任何一个点上使用三种语言：源语文本的言语成分，它对目标语言的转置，以及同时承载这两种语言的音乐。因此，歌剧剧本的翻译者必须掌握歌剧歌剧的含义，歌剧作者在源语中做出的文体选择，以及它们与音乐流派和传统的关系。此外，用于表演的翻译在制作过程中会发生变化，可能会受到其他代理和组件的影响，从舞台指导到音乐解释。因此，歌剧剧本是一种耐人寻味的翻译案例研究，特别适合研究合作翻译形式。歌剧翻译之所以引人入胜，正是因为它们具有多样性和移动性，但它们也迫使我们重新思考翻译的边界和界限。翻译学者正确地指出，原作文本需要考虑“音高轮廓、和声环境、节奏和韵律特征”(Newmark 2012)。歌唱翻译还需要考虑产生声音的器官(肺、隔膜、喉咙)，以及使歌剧演奏者能够理解歌词的发声技巧。然而，已有的歌剧翻译实践很少将译者和歌唱家联系在一起(更不用说导演或其他音乐家了)，因此未能在(重新)解释文本的过程中在关键主体之间建立密切的合作。为歌剧委托翻译的英文歌剧甚至在制作过程中都没有定期进行歌唱和表演测试，更不用说彻底的工作来发现更专业和更具包容性的做法了。

This interdisciplinary PHD focuses on the translation of operatic libretti for the purpose of professional training,singing and performance. It adopts an innovative approach to translation as a collaborative activity, harnessing itspotential in the lesser studied field of opera translation. 'Translaboration' moves away from the historical visionof the translator as a 'secondary author' working in isolation, towards the notion of multiple or joint"translationship" (Jansen and Wegener 2013, 5). This research will involve the collaborative translation, cocreation,and testing of operatic texts, working with experienced opera professionals (translators, dramaturgs,and pianists) as well as with a new generation of singers. It also aims to illuminate existing practice, sensitise theartists of tomorrow to the unchartered potential of collaborative translation and crucially, impact future trainingand professional activity in the field of opera.Translating operatic libretti is particularly challenging due to their plural nature and multiple purposes. Singersmay require a literal translation, a poetic version, a phonetic transcription, or a singable rewriting to beperformed in the vernacular. Whatever the purpose, the translator of operatic texts is essentially working withthree languages at any one point: the verbal component of the source text, its transposition into the targetlanguage, and the music that carries both. A translator of operatic libretti must therefore grasp their meaning,the stylistic choices made by librettists in the source language and their relationship to musical genres andtraditions. Additionally, translations intended for performance change during production processes and can beshaped by other agents and components, from stage direction to musical interpretation. Operatic librettitherefore make intriguing translation case studies and are particularly suitable for research into collaborativeforms of translation.While operatic translations are fascinating precisely because they are multiple and mobile, they also force us toconsider anew the borders and boundaries of translation. Translation scholars have rightly noted that operaticsource texts require consideration of "pitch contours, harmonic settings, rhythmical and metrical characteristics"(Newmark 2012). Singable translations also require consideration of the organs involved in the act of producingsound (lungs, diaphragm, larynx), and of the vocal technique that allows opera singers to interpret the words. Yetestablished practices of opera translation rarely bring the translator and the singer together (let alone directorsor other musicians), thus failing to establish a close collaboration between key agents in the process of(re)interpretation of the text. English translations commissioned for operas are not even regularly 'road tested'for singability and performability during their production process, let alone thoroughly workshopped to uncovermore professional and inclusive practices.