'Operatic Translaboration: Collaborative Translation, Singability and Interpretation

歌剧翻译：协作翻译、可唱性和解释

• 批准号: 2630623
• 金额: --
• 依托单位: University of Manchester
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2630623
• 关键词: Operatic; Translaboration; Collaborative; Translation; Singability

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.

这个跨学科的博士专注于翻译歌剧libretti的专业培训，演唱和表演的目的。它采用了一种创新的方法，将翻译作为一种合作活动，利用它在歌剧翻译这一研究较少的领域的潜力。“transmittance”从译者作为“次要作者”孤立工作的历史视野中走出来，走向多重或联合“责任”的概念（Jansen和Wegener 2013，5）。这项研究将涉及歌剧文本的合作翻译，共同创作和测试，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实践，使未来的艺术家对合作翻译的未知潜力敏感，更重要的是，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，翻译尤其具有挑战性。歌手可能需要一个直译，一个诗意的版本，一个语音转录，或一个可唱的改写，以执行在白话。无论目的是什么，歌剧文本的译者基本上在任何一个点上都在与三种语言打交道：源文本的语言成分，它到目标语言的转换，以及承载两者的音乐。因此，歌剧剧本的翻译者必须掌握其含义，原语言中剧本作者的风格选择以及它们与音乐类型和传统的关系。此外，用于表演的翻译在制作过程中会发生变化，并且可以由其他代理人和组件进行修改，从舞台指挥到音乐诠释。因此，歌剧剧本是一个有趣的翻译案例，特别适合于研究翻译的合作形式。歌剧翻译之所以令人着迷，正是因为它具有多样性和移动的，但它也迫使我们重新考虑翻译的边界和界限。翻译学者正确地指出，歌剧原文需要考虑“音高轮廓、和声设置、节奏和韵律特征”（Newmark 2012）。可唱的翻译还需要考虑到发声的器官（肺、横膈膜、喉），以及让歌剧演唱者能够诠释歌词的声乐技巧。然而，歌剧翻译的既定实践很少将译者和演唱者联系在一起（更不用说导演或其他音乐家了），因此在文本的（重新）解释过程中，未能在关键代理人之间建立密切的合作。歌剧的英文翻译在制作过程中甚至没有定期进行可唱性和可表演性的“道路测试”，更不用说彻底的研讨会来发现更专业和包容的做法。