Email this article Doppiaggio in italiano del film 'Astérix et Obélix - Au service de Sa Majesté'. Trasposizione degli elementi culturali e umoristici
Abstract
Abstract – At present, audiovisual translation is one of the most interesting and stimulating domains within the field of Translation Studies. Resting on a rich semiotic apparatus, marked by the interplay of a double channel of communication – audio/visual – with different types of signs – verbal/non-verbal codes, the audiovisual text is a complex one, whose transfer from one language into another represents a challenging task for every professional in this field. Especially in dubbing, the translator/adapter has to work on the interlinguistic level as well as on the intersemiotic level (iconic, paralinguistic elements, etc.): as many codes having great semantic potential and transmitting useful cultural information, as we shall see in the film which we have taken as the object of our analyses: Astérix et Obélix: Au Service de Sa Majesté (2012). This fourth film adaptation (except cartoons) of Astérix’s adventures offers a series of gags playing on the parody of typical traditions, symbols, linguistic clichés and cultural stereotypes associated with British culture. Italian dubbing resorts to different translation strategies, some of which come under a foreignizing approach, aiming at preserving the original’s colour and mood, whereas others are in line with a domesticating approach, in order to bring the product closer to the final audience. Indeed, instead of stressing the idea of a polarization or a dichotomy between two contrasting perspectives, we find it advisable to envisage a gradation between two instances which occur at the same time and coexist in a complementary way during the translation process.
Keywords: audiovisual translation; dubbing; cultural elements; humorous elements; foreignization/domestication.
Résumé – La traduction audiovisuelle se configure à l’heure actuelle comme l’un des domaines les plus intéressants et les plus stimulants dans le panorama des etudes traductologiques. Reposant sur un riche appareil sémiotique, où le binôme auditif/visuel (double canal de communication) s’entrecroise avec le binôme verbal/non-verbal (double typologie de signes), le texte audiovisuel est un texte complexe, dont le transfert d’une langue à l’autre représente un gros défi pour tout professionnel du secteur. Notamment dans le doublage, le traducteur/adaptateur est appelé à travailler tant sur le plan interlinguistique que sur le plan intersémiotique – éléments iconiques, paralinguistiques, etc.: autant de langages porteurs de sens, véhiculant des informations culturelles importantes, comme on va le voir dans le film qui a fait l’objet de notre analyse: Astérix et Obélix: Au Service de Sa Majesté (2012). Quatrième adaptation cinématographique (les dessins animés exclus) des aventures d’Astérix, le film est marqué par une série de gags jouant sur la parodie des traditions, des symboles, des clichés linguistiques et des stéréotypes culturels associés à la culture britannique. Le doublage italien s’appuie sur différentes stratégies traductives, relevant tantôt d’une approche exotisante, visant à préserver la couleur locale et l’ambiance de l’original, tantôt d’une approche naturalisante, afin d’assurer une bonne réception du produit chez le contexte d’arrivée. Au lieu d’insister sur une opposition dichotomique entre deux perspectives contrastantes, il convient donc d’envisager une alternance entre deux instances qui coexistent de façon complémentaire lors du processus traductif.
Mots clés: traduction audiovisuelle; doublage; éléments culturels; éléments humoristiques; exotisation/naturalisation.
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