Dubbing into English Dubbing into English

Translation processTranslation process

• Subject Subject – treatmenttreatment– screenplay screenplay – script [script [written dialogues]written dialogues]

• Spoken dialogue Spoken dialogue • Continuity script (transcription and Continuity script (transcription and

postsynchronization) postsynchronization) • TranslationTranslation

– adaptationadaptation– dubbingdubbing– mixagemixage– translated spoken dialoguetranslated spoken dialogue– subtitlessubtitles

REGULARLY OCCURRING REGULARLY OCCURRING PATTERNS OF TRANSLATIONAL PATTERNS OF TRANSLATIONAL BEHAVIOURBEHAVIOUR

the language of translation has been the language of translation has been shown to have its own specificities shown to have its own specificities (explicitation, simplification, (explicitation, simplification, normalisation, levelling, etc. - see normalisation, levelling, etc. - see Baker, Laviosa, Olohan, Ulrych).Baker, Laviosa, Olohan, Ulrych).

Italian film textsItalian film texts

• Brunetta (1977) explains that original Brunetta (1977) explains that original (Italian) film texts already use a (Italian) film texts already use a simplified, normalised and levelled simplified, normalised and levelled language.language.

• For example when based on a book, For example when based on a book, story, etc. word order is usually story, etc. word order is usually normalised eg. ‘sempre li guardavo/li normalised eg. ‘sempre li guardavo/li guardavo sempre’; ‘si chiama essa’/’essa guardavo sempre’; ‘si chiama essa’/’essa si chiama’si chiama’

• Cf. Antonioni, ViscontiCf. Antonioni, Visconti

So where does this leave us So where does this leave us with regard to translating films with regard to translating films into English?into English?

• Well, very few films and television Well, very few films and television programmes are translated into programmes are translated into English, due to the predominance of English, due to the predominance of English language products in the English language products in the media.media.

SubtitlingSubtitling

• But those few films that are translated But those few films that are translated are generally SUBTITLED.are generally SUBTITLED.

• This is regarded as a good thing by This is regarded as a good thing by language students, language language students, language enthusiasts, film buffs, the deaf and enthusiasts, film buffs, the deaf and indeed by the general public, who are indeed by the general public, who are not used to any other form of film not used to any other form of film translation.translation.

BUTBUT

• it is known that written language differs it is known that written language differs considerably from spoken language (even considerably from spoken language (even as heard on a film);as heard on a film);

that there are some differences between that there are some differences between film language and genuine spoken film language and genuine spoken language and these are accentuated in language and these are accentuated in translation;translation;

and that written translation differs from and that written translation differs from original texts of a similar nature.original texts of a similar nature.

So what about subtitling?So what about subtitling?

•Series of constraintsSeries of constraints

Script Script (written to be (written to be spoken as if not written)spoken as if not written)

>transcription >transcription (more spoken style)(more spoken style)> translation > translation (further deviation)(further deviation)>adaptation >adaptation (partial remodifying)(partial remodifying)> composition > composition (written)(written)

Dubbing into English?Dubbing into English?

England is not a dubbing England is not a dubbing country cf. Germany, Italy, country cf. Germany, Italy, Spain, France?Spain, France?

New (PRIN) projectNew (PRIN) project

• Survey to test British (and American) Survey to test British (and American) attitudes to dubbing.attitudes to dubbing.

• It has always been assumed that British It has always been assumed that British audiences would not take to dubbing.audiences would not take to dubbing.

• But it has never been investigated, let But it has never been investigated, let alone proved.alone proved.

But is dubbing better?But is dubbing better?

DefinitionDefinition““create, add or replace the soundtrack of a film, esp create, add or replace the soundtrack of a film, esp

in a different language”in a different language”(OALD)(OALD)

• Series of constraints:Series of constraints:– Lip synchronisationLip synchronisation– Supralinguistic elementsSupralinguistic elements– TimingTiming– Coordination with visual (multimodal text)Coordination with visual (multimodal text)

Ladri di biciclette 1948Ladri di biciclette 1948

The dubbed version contains:The dubbed version contains:

factual errorsfactual errors

false characterisationfalse characterisation

total normalisationtotal normalisation

stereotypingstereotyping

ErrorsErrors

tanto me to faccio accompagnà da tanto me to faccio accompagnà da lui a Porta Portese, noi rimaniamo qui lui a Porta Portese, noi rimaniamo qui damo una guardata ancoradamo una guardata ancora

Anto, go with him to Porta Portese, Anto, go with him to Porta Portese, might have better luckmight have better luck

False characterisation … False characterisation …

Alfredo the thief’s mother is Alfredo the thief’s mother is aggressive and will stop at nothing to aggressive and will stop at nothing to protect her criminal offspring.protect her criminal offspring.

In the dubbed version she is the In the dubbed version she is the classic ‘mamma italiana’.classic ‘mamma italiana’.

… … and stereotypingand stereotyping

Mamma:Mamma: ma che vo’ sto gran ma che vo’ sto gran farabutto? Alfre’ vie’ su!!farabutto? Alfre’ vie’ su!!

Mamma:Mamma: Oh mio Dio! What’s he Oh mio Dio! What’s he doing, Alfredo, what’s doing, Alfredo, what’s

he he doing?doing?

ConversationConversation

• The conversational behaviours of The conversational behaviours of (the) participants express dimensions (the) participants express dimensions of their social identities. As they take of their social identities. As they take turns at talking, (the) turns at talking, (the) conversationalists are enacting who conversationalists are enacting who they are.they are.

Cinema Paradiso (Italian)Cinema Paradiso (Italian)

• Non venire più. Non pensare mai a Non venire più. Non pensare mai a noi, non ti voltare, non scrivere. Non noi, non ti voltare, non scrivere. Non ti fare fottere dalla nostalgia. Se non ti fare fottere dalla nostalgia. Se non resisti e torni indietro non venirmi a resisti e torni indietro non venirmi a trovare. Non ti faccio entrare a casa trovare. Non ti faccio entrare a casa mia,‘o capisci?’ Qualsiasi cosa farai, mia,‘o capisci?’ Qualsiasi cosa farai, amala come amavi la cabina dello amala come amavi la cabina dello ‘paradiso’ quann’eri ‘paradiso’ quann’eri picciriddupicciriddu..

Cinema Paradiso (English)Cinema Paradiso (English)

• Don’t come back. Don’t think about Don’t come back. Don’t think about us. Don’t look back, don’t write. us. Don’t look back, don’t write. Forget us all. If you don’t and come Forget us all. If you don’t and come back, don’t come see me. I won’t let back, don’t come see me. I won’t let you in my house, understand? you in my house, understand? Whatever you end up doing, love it Whatever you end up doing, love it the way you loved the projection the way you loved the projection booth when you were booth when you were a little squirt.a little squirt.

Cf. The GodfatherCf. The Godfather

• picciriddu = little kidpicciriddu = little kid

• picciuttazzi = young punks;picciuttazzi = young punks;

• a cafone like that (Italian word used a cafone like that (Italian word used in original English) = un cafone come in original English) = un cafone come chiddu;chiddu;

Trieste dubbing projectTrieste dubbing project

• Students had to produce subtitled Students had to produce subtitled and dubbed versions of ‘Il and dubbed versions of ‘Il Commissario Montalbano’ and ‘Prime Commissario Montalbano’ and ‘Prime Suspect’Suspect’

• In the case of ‘Montalbano’, no In the case of ‘Montalbano’, no dubbed version had yet been dubbed version had yet been attempted.attempted.

MontalbanoMontalbano

• Culture-bound problems – Sicilian variety Culture-bound problems – Sicilian variety

Stephen Sartirelli, author of the English Stephen Sartirelli, author of the English translations of the Camilleri novels, translations of the Camilleri novels, explained that he just made it as explained that he just made it as colloquial as possible. But he had more colloquial as possible. But he had more room for manoeuvre – explanations, room for manoeuvre – explanations, footnotes, etc.footnotes, etc.

Student versionsStudent versions

In the students’ dubbed versions we In the students’ dubbed versions we find syntactic and lexical find syntactic and lexical intervention.intervention.

• Syntax - simple, elided, repeated and Syntax - simple, elided, repeated and use of phatic devices.use of phatic devices.

• Lexis - colourful, colloquial, idiomatic, Lexis - colourful, colloquial, idiomatic, metaphorical, slang, taboo.metaphorical, slang, taboo.

However … However …

… … the skill lies in calibrating these the skill lies in calibrating these features to the individual characters. features to the individual characters. For example, the lawyer uses a high, For example, the lawyer uses a high, formal register but also formal register but also grammatically incorrect sentences grammatically incorrect sentences apparently typical of the Southapparently typical of the South

Non-linguistic constraintsNon-linguistic constraints

• Commissario = Superintendent (cf. Commissario = Superintendent (cf. translation into Italian of Detective translation into Italian of Detective Superintendent Tennison in Superintendent Tennison in Prime Prime SuspectSuspect as as Commissario Tennison.Commissario Tennison.

• BUT in the books the term had always BUT in the books the term had always been translated as ‘Inspector’ and so been translated as ‘Inspector’ and so he had to remain Inspector he had to remain Inspector Montalbano (cf. Inspector Morse, etc.)Montalbano (cf. Inspector Morse, etc.)

IntonationIntonation

Anna: Ma mi sembrava importante.Anna: Ma mi sembrava importante.Anna: But maybe it’s important, Anna: But maybe it’s important, isn’t it?isn’t it?

• Two reasonsTwo reasons• the frequency and naturalness of question the frequency and naturalness of question

tags in English (cf. use in similar series tags in English (cf. use in similar series through parallel texts):through parallel texts):

• from the intonation of the speaker it is clear from the intonation of the speaker it is clear that she aimed to involve Montalbano.that she aimed to involve Montalbano.

Character quirksCharacter quirks

• Lawyer Palillo says:Lawyer Palillo says:

Peccato che questa persona senza occhiali Peccato che questa persona senza occhiali non riesca a distinguere una gemma da una non riesca a distinguere una gemma da una patata.patata.

(he wants to say ‘he can’t see very well’).(he wants to say ‘he can’t see very well’).

Pity, isn’t it? ..this person without glasses Pity, isn’t it? ..this person without glasses can’t separate the wheat from the chaff.can’t separate the wheat from the chaff.

To leave and not leaveTo leave and not leave

Nicolò: Mi sono imparato a fare la scaccia coi Nicolò: Mi sono imparato a fare la scaccia coi broccoli.broccoli.Nicolò: I’ve learnt a new recipe: scaccia coi Nicolò: I’ve learnt a new recipe: scaccia coi broccoli.broccoli.(Sicilian food is an important ‘character’ in the (Sicilian food is an important ‘character’ in the Montalbano series, so leave it, adding ‘a new Montalbano series, so leave it, adding ‘a new recipe’)recipe’)

The incorrect ‘mi sono imparato’ is normalised as The incorrect ‘mi sono imparato’ is normalised as the person speaking is an educated journalist. the person speaking is an educated journalist. Regionalisms are more frequent across all classes Regionalisms are more frequent across all classes in Italy.in Italy.

Comparative grammarComparative grammar

• … … va a passeggiare il caneva a passeggiare il cane

• … … when walking his dogwhen walking his dog

The verb ‘passeggiare’ is intransitive The verb ‘passeggiare’ is intransitive in Italian, but ironically the literal in Italian, but ironically the literal translation is correct in English. translation is correct in English. There is no point in forcing the issue.There is no point in forcing the issue.

Lip synchLip synch

Lip-syncLip-sync or or Lip-synchLip-synch (short for (short for lip lip synchronizationsynchronization) is a technical term for ) is a technical term for matching lip movements with voice. The matching lip movements with voice. The term refers both to a technique often used term refers both to a technique often used during musical performances and the during musical performances and the production of production of filmfilm and and TelevisionTelevision programsprograms, and to the problem of maintaining , and to the problem of maintaining videovideo and and audioaudio signals synchronized during signals synchronized during post-productionpost-production and and transmissiontransmission. It is also . It is also used to match lip movements of animated used to match lip movements of animated characters (including characters (including computer computer facialfacial animationanimation). ).

Lip synch . classicsLip synch . classics

• Yeah/GiàYeah/Già

• Fucking/fottutoFucking/fottuto

Lip synchronisationLip synchronisation

Mi Mi ssembra daembra davvvvero improbabile. ero improbabile.

That’That’ss vvery unlikely.ery unlikely.

1)1) helps anchor stress patterns, but helps anchor stress patterns, but imposes modifications.imposes modifications.

2)2) good dubbing actors recreate good dubbing actors recreate suprasegmental itemssuprasegmental items

Lip synch – Indiana JonesLip synch – Indiana Jones

YouYou know it, I know it!... know it, I know it!... IoIo lo so, tu lo sai! … lo so, tu lo sai! …(inversion for the ‘j’ sound)(inversion for the ‘j’ sound)

… … five minutesfive minutes… … frafra cinque minuti cinque minuti

Hang on, Dad!Hang on, Dad!Resisti, Resisti, dai!dai!

s

Lip synch and timingLip synch and timing

Giacomo: Io, non ho ucciso mio fratello!Giacomo: Io, non ho ucciso mio fratello!Giacomo: Me, I didn’t kill my brotherGiacomo: Me, I didn’t kill my brother

(length of enunciation and lip synchronisation)(length of enunciation and lip synchronisation)

Montalbano: Perchè?Montalbano: Perchè?Montalbano: What happened?Montalbano: What happened?

• (translating with ‘Why?’ has only one lip (translating with ‘Why?’ has only one lip movement. ‘What happened?’ respects the movement. ‘What happened?’ respects the alternation open/half closed – open/half closed.alternation open/half closed – open/half closed.

Line length and delivery Line length and delivery speedspeed• Non voleva essere di peso alla famigliaNon voleva essere di peso alla famiglia• He didn’t want to be a burden.He didn’t want to be a burden.

• L’ho accompagnato adesso in prigione a Vigata.L’ho accompagnato adesso in prigione a Vigata.• I have just taken him to prison.I have just taken him to prison.

• Greater timing synch gives impression that Greater timing synch gives impression that characters are speaking Italian (or whatever) characters are speaking Italian (or whatever) but there is enforced loss of some details.but there is enforced loss of some details.

Coordination with visualCoordination with visual

• Il signor La Russa questa notte si è spogliato nudo, si è Il signor La Russa questa notte si è spogliato nudo, si è applicato ai polsi e alle caviglie questi, la fascia grande se applicato ai polsi e alle caviglie questi, la fascia grande se l’è legata al petto, ha indossato la cuffia, si è coperto il l’è legata al petto, ha indossato la cuffia, si è coperto il corpo, con la maschera il viso. Sembra tutta roba che si è corpo, con la maschera il viso. Sembra tutta roba che si è fabbricato lui cu’ santa pacienza.fabbricato lui cu’ santa pacienza.

• Mister La Russa, last night, stripped himself naked, applied Mister La Russa, last night, stripped himself naked, applied these things on his wrists and ankles, tied the large strap to these things on his wrists and ankles, tied the large strap to his chest, put on the cap, covered his body, and his face his chest, put on the cap, covered his body, and his face with the mask. It seemed like he made all the stuff himself with the mask. It seemed like he made all the stuff himself with saintly patience.with saintly patience.

• Verbal and non-verbal more aligned but can impose Verbal and non-verbal more aligned but can impose strained syntaxstrained syntax

General considerationsGeneral considerations

1. Lip synch helps anchor stess patterns, 1. Lip synch helps anchor stess patterns, etc. but imposes modifications;etc. but imposes modifications;

2. Greater timing synch gives impression 2. Greater timing synch gives impression that actors are speaking English, Italian that actors are speaking English, Italian or whatever, but there is enforced loss or whatever, but there is enforced loss of some details;of some details;

3. Coordination with the visual can 3. Coordination with the visual can impose strained syntax.impose strained syntax.

Semiotic impact on audiences

100%100%100%100%100%100%All channels

27%

18%

0%

55%

Voiced-over

version

26%

18%

1%

55%

Dubbed version

65%010%25%Speech

35%018%18%Sound effects

050%32%2%Writing

050%40%55%Image

Audio-described version

Deaf & HoH

version

Subtitled version

Original production

Genre: Drama

Media-political characteristics

**********Dialogue idiomaticity

*************Domestic-language boosting

00***0Literacy training

0*****0Foreign-language training

Ø*********Foreign-culture mediation

*************Full content mediation

*********0Dialogue authenticity

**********Semiotic authenticity

***********Affordability

Domestic TV production

Voiced-over TV

Subtitled TV

Dubbed TV

But of course, if dubbing into But of course, if dubbing into English takes off…English takes off…

• we are going to be dealing with a use of we are going to be dealing with a use of language that is different from any language that is different from any hitherto studied in terms of information hitherto studied in terms of information structure, cohesion, transitivity patterns, structure, cohesion, transitivity patterns, lexical choice, register, etc.lexical choice, register, etc.

• When I first said this, I also said that I When I first said this, I also said that I hoped by next time to have some hoped by next time to have some examples to show and discuss.examples to show and discuss.

A Case StudyA Case Study

•Tutto brillaTutto brilla

Tutto BrillaTutto Brilla

• Mario Paolinelli and Eleonora Di Fortunato, Mario Paolinelli and Eleonora Di Fortunato, established film translators in Italy and established film translators in Italy and members of AIDAC, organised, at The members of AIDAC, organised, at The Casa Casa del Cinemadel Cinema in Rome the viewing of two in Rome the viewing of two Italian products, Italian products, BbobboloneBbobbolone (Daniele (Daniele Cascella, 2003, Italy) and Cascella, 2003, Italy) and Tutto brillaTutto brilla (Massimo Cappelli, 2005, Italy)(Massimo Cappelli, 2005, Italy)[1][1], both , both dubbed into English by a team headed by dubbed into English by a team headed by Gregory Snegoff, an American screen Gregory Snegoff, an American screen translator based in Rome. translator based in Rome.

Gregory SnegoffGregory Snegoff

• Various dignitaries from the world of politics Various dignitaries from the world of politics and film distribution were invited to the and film distribution were invited to the showing in an attempt to convince them of showing in an attempt to convince them of the value of marketing dubbed products in the value of marketing dubbed products in the English-speaking world. Snegoff is one the English-speaking world. Snegoff is one of the very few accredited dubbers working of the very few accredited dubbers working into English and his versions of the two into English and his versions of the two shorts were generally considered to be of a shorts were generally considered to be of a high quality.high quality.

Film dialogueFilm dialogue

• characters can be rendered more characters can be rendered more individual and realistic when defined individual and realistic when defined by language, their actions and by language, their actions and gestures are shaped by words and gestures are shaped by words and what is being said becomes more what is being said becomes more central than what is being seen central than what is being seen (Vassé 2006). (Vassé 2006).

ShortsShorts

• The power of the word emerges even more The power of the word emerges even more clearly in shorts.clearly in shorts.

• The shorter the film, the tighter the The shorter the film, the tighter the dialogues.dialogues.

• Even the dramatic narrative structure Even the dramatic narrative structure (Exposition, Development, Climax and (Exposition, Development, Climax and Denouement) referring to the original form of Denouement) referring to the original form of the well-made play (Remael 2004) is instantly the well-made play (Remael 2004) is instantly recognizable.recognizable.

The three ladiesThe three ladies

Lady 1 sarcasticLady 1 sarcasticE allora vediamolo in funzione questo E allora vediamolo in funzione questo nostro futuronostro futuro!!

Lady 2 naive Lady 2 naive Scusate, io non ho capito bene, cosa Scusate, io non ho capito bene, cosa sarebbe? Un aspirapolvere?sarebbe? Un aspirapolvere?

Lady 3 bossy Lady 3 bossy Là, là, là, nell’angolino!Là, là, là, nell’angolino!

Lip synchLip synch

• Il futuro che bussa alla portaIl futuro che bussa alla porta is translated with is translated with • The future is more affordable todayThe future is more affordable today

which at first glance seems which at first glance seems inaccurate, until it is noted that the inaccurate, until it is noted that the professional translator has taken lip professional translator has taken lip synchronisation into consideration and synchronisation into consideration and provided a corresponding bilabial provided a corresponding bilabial plosive.plosive.

TricksTricks

• SignoreSignore, fate bene attenzione!, fate bene attenzione!

is left out and replaced by is left out and replaced by

NowNow

in order to catch the nasal /n/ sound. in order to catch the nasal /n/ sound. Snegoff (p.c.) refers to these Snegoff (p.c.) refers to these strategies as ‘tricks’ that the adaptor strategies as ‘tricks’ that the adaptor learns. learns.

Opening scenesOpening scenes

• Language is not creative at this Language is not creative at this stage, but it draws heavily on stage, but it draws heavily on established formulae which are established formulae which are maintained in the dubbed versionmaintained in the dubbed version..

• The dialogue pace is slow and The dialogue pace is slow and interaction almost lackinginteraction almost lacking..

Development sceneDevelopment scene

• a progressive advance to a more a progressive advance to a more complex scenario.complex scenario.

• Each nucleus in the conversation, Each nucleus in the conversation, that is Mr Rolli on the one hand, and that is Mr Rolli on the one hand, and the three ladies on the other, act as the three ladies on the other, act as if they were alone.if they were alone.

““PPolylogue”olylogue”

• Uninterested in the peculiarities of the Uninterested in the peculiarities of the vacuum-cleaner, the women keep on vacuum-cleaner, the women keep on chatting in the background;chatting in the background;

decentered speech decentered speech ““naturalistic verbal chaos”, naturalistic verbal chaos”, ““verbal wallpaper” (Kozloff 2000), verbal wallpaper” (Kozloff 2000),

Polylogue 2Polylogue 2

• Language-wise, the polylogue Language-wise, the polylogue analyzed consists of fast but clear-analyzed consists of fast but clear-cut turn taking, disconnected topics cut turn taking, disconnected topics ranging from pregnant nannies to ranging from pregnant nannies to going to the gym, and various going to the gym, and various unintelligible turns uttered very unintelligible turns uttered very quickly. quickly.

ExampleExample

• Lady: Lady: La mia tata è incinta.La mia tata è incinta.

• Lady: Lady: My daughter’s nanny has gotten My daughter’s nanny has gotten herself pregnant again.herself pregnant again.

• the extra, and potentially more scandalous, the extra, and potentially more scandalous, information provided in the English version information provided in the English version is swallowed up in the general chit-chat.is swallowed up in the general chit-chat.

A (risqué) play on wordsA (risqué) play on words

• Noi la scopa elettrica non la Noi la scopa elettrica non la vogliamo. Già si scopa poco, vogliamo. Già si scopa poco, figuriamoci se c’è anche il rischio di figuriamoci se c’è anche il rischio di prendersi la scossa.prendersi la scossa.

The (even more risqué) The (even more risqué) solutionsolution• Around here sex is becoming so rare that Around here sex is becoming so rare that

the handle of the broom is starting to give the handle of the broom is starting to give us ideas but not at the risk of electrocution.us ideas but not at the risk of electrocution.

• He creates a different sexual reference, the He creates a different sexual reference, the play on the word play on the word scopascopa not being not being transferrable, but maintaining the context of transferrable, but maintaining the context of the implement, and then the ending is the the implement, and then the ending is the same. The length of the utterance, as can be same. The length of the utterance, as can be seen, is almost exactly equal.seen, is almost exactly equal.

The (long) climaxThe (long) climax

• Short sentences, simple lexicon and Short sentences, simple lexicon and taxis, convincing statements and a taxis, convincing statements and a rhetorical question characterize the rhetorical question characterize the monologue, which does not include monologue, which does not include any elements resembling natural any elements resembling natural speech.speech.

SalesmanSalesman

• Guardatevi! Guardatevi! È mezzogiorno Guardatevi! Guardatevi! È mezzogiorno è siete già ubriache fradice. Non ce la è siete già ubriache fradice. Non ce la fate neanche a stare in piedi. E fate neanche a stare in piedi. E scommetto che non è neanche la prima scommetto che non è neanche la prima volta. Ne facciamo un’altra di volta. Ne facciamo un’altra di scommessa? Chi scoppia a piangere per scommessa? Chi scoppia a piangere per prima, eh? Borse sotto gli occhi, capillari prima, eh? Borse sotto gli occhi, capillari che esplodono… Bang! Come botti di che esplodono… Bang! Come botti di capodanno. Signore, voi non ce la fate capodanno. Signore, voi non ce la fate più e si vede!più e si vede!

Translation Translation

• Take a good look at yourselves! Go on have Take a good look at yourselves! Go on have a look! It’s barely noon and you’re almost a look! It’s barely noon and you’re almost shit-faced. You can’t even stand up. And I shit-faced. You can’t even stand up. And I bet big money it isn’t the first time either. bet big money it isn’t the first time either. How about another little bet? Who’ll be the How about another little bet? Who’ll be the first starting blubbering, eh? Wrinkles first starting blubbering, eh? Wrinkles around the nose, capillars exploding, around the nose, capillars exploding, BANG! Like the 4th of July in Ohio. Ladies, BANG! Like the 4th of July in Ohio. Ladies, you just can’t take it anymore and it is you just can’t take it anymore and it is showing!showing!

TricksTricks

• Come botti di capodannoCome botti di capodanno

• Like the 4th of July in OhioLike the 4th of July in Ohio

• matching lip movements and vowel matching lip movements and vowel sounds and still a day of celebration. sounds and still a day of celebration.

the repeated /n/ .the repeated /n/ .

• Senta è Natale. Nessuno può Senta è Natale. Nessuno può permettersi di essere così spietato.permettersi di essere così spietato.

• Listen , it’s not nice! Nobody should Listen , it’s not nice! Nobody should be this heartless at Christmas time.be this heartless at Christmas time.

Calque Calque

• psico-tossico-dipendentipsico-tossico-dipendenti

• psycho-toxic-dependentpsycho-toxic-dependent

(cf. Eng. (cf. Eng. drug addictdrug addict). ).

Visual assistanceVisual assistance

• he just fell over he just fell over

• cos’è, morto? cos’è, morto?

• is justified not only by lip synch is justified not only by lip synch considerations but also by the considerations but also by the visuals, as Rolli can be seen falling.visuals, as Rolli can be seen falling.

Culture-bound terms,Culture-bound terms,

• Io volevo un torroneIo volevo un torrone

• I wanted a chocolate log.I wanted a chocolate log.

ReservationsReservations

• Speriamo che Speriamo che questoquesto si sbrighi si sbrighi perché io c’ho la palestra.perché io c’ho la palestra.

• I hope I hope hehe is quick. I’ll be late for the is quick. I’ll be late for the gym again.gym again.

• Cf. Cf. La fuori La fuori ci staci sta la mia famiglia/ la mia famiglia/My My family family isis outside in the car. outside in the car.

Word orderWord order

• Va beh. Tutto qui quello che sa fare? Va beh. Tutto qui quello che sa fare? Forza, ci stupisca per davvero, dia Forza, ci stupisca per davvero, dia una pulitina alle tende, non so, sotto una pulitina alle tende, non so, sotto i divani, sotto le scarpe, improvvisi! i divani, sotto le scarpe, improvvisi! Siamo nelle sue mani ragazzo mio. Siamo nelle sue mani ragazzo mio. Che cos’è? non glielo hanno detto al Che cos’è? non glielo hanno detto al corso di vendita? corso di vendita? Che era? Un corso Che era? Un corso serale?serale?

Translation Translation

• That’s it. You’ve already exhausted That’s it. You’ve already exhausted your repertoire? Do something your repertoire? Do something surprising for us. Wash the curtains, surprising for us. Wash the curtains, clean under the sofa, vacuum under clean under the sofa, vacuum under our shoes, you know, improvise! our shoes, you know, improvise! Come on, you have us hanging on Come on, you have us hanging on your every word or didn’t they tell your every word or didn’t they tell you that at your local vending class?you that at your local vending class?

RhythmRhythm• The translator maintains the prosody though The translator maintains the prosody though

he rearranges the order of the utterances, he rearranges the order of the utterances, again for synchronisation reasons and to again for synchronisation reasons and to keep the same rhythm. keep the same rhythm. – the beginning vowel sound /a/ in the beginning vowel sound /a/ in Va Va behbeh and and

That’sThat’s it it– the final alliterative matching of the final alliterative matching of improvvisiimprovvisi and and

improviseimprovise – moving moving Come onCome on to the beginning of the to the beginning of the

translated version of the second lady’s speech translated version of the second lady’s speech neatly captures the /m/ sound in neatly captures the /m/ sound in SiamoSiamo

– vending classvending class, a fortuitously American-English , a fortuitously American-English term, covers the term, covers the (corso di) vendita(corso di) vendita..