Intercultural theatrical encounter and the dramaturgy of surtitles

ABSTRACT

Theatre surtitles have tended to be seen as a necessary inconvenience. However, recent technological developments have streamlined the provision of translated captions and these advances are influencing awareness of and attitudes to the use of surtitles in theatre spaces. Taking the ITA’s Roman Tragedies as an illustration, this article examines the application of surtitling technology in theatre translation. The intermedial performance of surtitles positions surtitles within new media dramaturgy, creating a form of interlinear translation. The dramaturgical effect of the integration of surtitles into production demonstrates how technological intervention can operate to co-produce the humanity of intercultural theatrical encounter.

Les surtitres de théâtre ont eu tendance à être considéré inconvénients nécessaires. Cependant, les développements technologiques récents ont simplifié la fourniture de sous-titres traduits et ces progrès influent l'utilisation des surtitres dans les espaces de théâtre. En étude de cas, cet article prend l'œuvre d'Ivo van Hove, Tragédies romaines [tragedie romaine in italics, please], pour examiner l'application de la technologie surtitrage en traduction théâtrale. La performance intermédiale des surtitres résonne avec la nouvelle dramaturgie médiatique, ce qui crée une forme de traduction interlinéaire. L'effet dramaturgique de l'intégration des surtitres dans la production affiche l'interaction de l'intervention technologique avec l'humanité de la rencontre théâtrale interculturelle.

KEYWORDS:

• Dramaturgy
• interlinear translation
• intermedial performance
• surtitles
• theatre translation

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes on contributor

Geraldine Brodie is Associate Professor in Translation Theory and Theatre Translation in the Centre for Translation Studies at University College London. Her research centres on theatre translation practices in contemporary London, on which topic she speaks and publishes widely, including contributions to translation studies handbooks and encyclopedias. Recent publications include her monograph The Translator on Stage (Bloomsbury, 2018), the volume Adapting Translation for the Stage, co-edited with Emma Cole (Routledge, 2017) and the special issue, ‘Martin Crimp: playwright, translator, translated’, of the Journal of Adaptation in Film & Performance (2016, 1), co-edited with Marie Nadia Karsky. Geraldine Brodie is a Senior Fellow of the Higher Education Academy, a panel Associate of ARTIS (Advancing Research in Translation and Interpreting Studies) and an editorial advisor for UCL Press. In addition to her role at UCL, Geraldine Brodie is a chartered accountant, a school governor and Chair of Actors Touring Company.

Notes

1 My translation.

2 For a discussion of literal translation in theatre, see Brodie (2018).

3 The author is grateful to Mikk Männaste, Information Technology Director of the Vanemuine for this information (Männaste, 2019).

4 The survey was carried out by the anonymous blogger @operatraveller with additional contributions from readers of the blog (operatraveller.com, 2017).

5 Burton’s emphasis.

6 The author is grateful to Paul Cremo, the Dramaturg and Director of Opera Commissioning Programs, Metropolitan Opera, for this information (Cremo, 2014).

7 The author is grateful to Uli Menke for this information (Menke, 2015).

8 My translation.