The Paramount Role of Translation in Modern Opera Productions

  • Aleksandra Ożarowska University of Warsaw
Keywords: opera, libretto, translation, surtitles, visibility

Abstract

Opera is undoubtedly a particularly high and traditional genre of art, but recently there have been numerous attempts at breaking this stereotype and presenting opera in a contemporary light. The most popular way of achieving this aim is either staging modernized opera productions, i.e. transferring their plot from their traditional setting to the here and now, or considerably changing their interpretation. Staging modernized productions involves, first of all, the issue of stage design, and an alteration in the traditional interpretation is mostly created by acting, but nowadays it is also the translation shown in the form of surtitles that creates the significance of operatic productions.

Downloads

Download data is not yet available.

Author Biography

Aleksandra Ożarowska, University of Warsaw

Aleksandra Ożarowska is a postgraduate student and a junior lecturer at the Department of Applied Linguistics in the Institute of English Studies, University of Warsaw. She is the chairman of the students’ literary translation group - Book to World. Her scientific interests focus on contemporary Translation Studies and her main research field concerns the translation of operatic libretti. Apart from that, she works as a translator of opera surtitles and children’s literature. Her recent publications include: “Opera in Contemporary Light: the Challenges of Presenting and Translating Modernised Opera Productions” (2016) and “Translating Operatic Libretti as an Interdisciplinary Area of Translation Studies” (2017).

References

Bassnett, Susan. “The Meek or the Mighty: Reappraising the Role of the Translator.” Translation, Power, Subversion. Ed. Román Álvarez and M. Carmen-África Vidal. Clevedon: Multilingual Matters, 1996. 10–24. Print.

Burton, Jonathan. “The Art and Craft of Opera Surtitling.” Audiovisual Translation: Language Transfer on Screen. Ed. Jorge Díaz Cintas and Gunilla Andermann. Basingstoke: Palgrave Macmillan, 2009. 58–70. Print.

Derrida, Jacques. “Różnia (différance).” Drogi współczesnej filozofii. Trans. Joanna Skoczylas. Ed. Marek J. Siemek. Warszawa: Czytelnik, 1978. 374–411. Print.

Desblache, Lucile. “Music to My Ears, but Words to My Eyes? Text, Opera and Their Audiences.” Linguistica Antverpiensia, New Series–Themes in Translation Studies 6 (2007): 155–70. Web. 28 May 2016.

Dubiski, Stanisław. Opera pod lupą. Warszawa: Wydawnictwa Uniwersytetu Warszawskiego, 2009. Print.

Hettinger, Holger. “Finesse ohne virtuosen Überschwang.” Deutschlandfunkkultur.de. Deutschlandfunk Kultur 27 Jan. 2015. Web. 28 May 2016.

Kozinn, Allan. “The Met Shows Off Its New Titles.” Nytimes.com. New York Times 24 Mar. 1995. Web. 28 May 2016.

Lefevere, André. Translation, Rewriting and the Manipulation of Literary Fame. London: Routledge, 1992. Print.

Savage, Roger. “The Staging of Opera.” The Oxford Illustrated History of Opera. Ed. Roger Parker. New York: Oxford UP, 1994. 350–420. Print.

Tommasini, Anthony. “Reinventing Supertitles: How the Met Did It.” Nytimes.com. New York Times 2 Oct. 1995. Web. 28 May 2016.

Venuti, Lawrence. The Translator’s Invisibility: A History of Translation. London: Routledge, 2008. Print.

Wakin, Daniel J. “Oh, Baby! That Duke Sure is a Dreamboat in the New Rigoletto.” Nytimes.com. New York Times 8 Feb. 2013. Web. 28 May 2016.

Published
2017-10-16
How to Cite
Ożarowska, A. (2017). The Paramount Role of Translation in Modern Opera Productions. Text Matters: A Journal of Literature, Theory and Culture, (7), 258-272. https://doi.org/10.1515/texmat-2017-0014