6 PRACTICALITIES International theatre, productions touring to far-off places, multilingual productions and surtitles, and access and accessibility are now integral parts of the theatre landscape in German-speaking countries. How do we work with them?
THE BASICS
YEARBOOK ITI 2019
Theatre Tr anslation Theatre translators are literary translators, often with a background in theatre practice or a degree in theatre or translation studies. The art of theatre translation involves transferring the use of language in a particular play into another language. One of the main challenges it involves is analysing each character’s voice. This is challenging work, and you should always ask an experienced theatre translator to carry it out. Support is available here: • www.literaturuebersetzer.de/uevz/ • www.drama-panorama.com • or please contact theatre publishers and cooperatives, who all work closely with translators.
Multilingual Rehearsal Processes One option for multilingual productions is for the cast and team to communicate in English. However, when developing the basic concept for the production, or during the final rehearsal phase etc., everyone should be able to speak in their own mother tongue, to avoid any unconscious power dynamics emerging. Good interpreters are able to provide simultaneous interpreting, are wellacquainted with each of the relevant theatre cultures, and can thus help to avoid any intercultural pitfalls. For this process, precise interpretation that does not distract from the director’s presence is extremely important. Support, for example for the simultaneous interpretating of opening speeches, is available from the International Association of Conference Interpreters (AIIC). If you require the assistance of an interpreter during your rehearsal process, we recommend searching for one in the database of the German-Speaking Literary and Academic Translators’ Union, the Verband deutschsprachiger Übersetzer:innen literarischer und wissenschaftlicher Werke (VdÜ). Alternatively, you could also contact translation studies and interpretation students, or interpreters in your community.
ON-STAGE TRANSFER SURTITLING When surtitling, the language spoken on stage, which was specifically written to be spoken out loud, must be adapted into a written form that must be readable within seconds, without however adulterating its style. This form of translation comes on top of the source language being spoken on stage, what is visible on stage, and the gestures and mimics of the actors. The aim is to ensure that the audience needs to read as little as possible and can look at the stage as much as possible. Because surtitles usually attract a lot of attention to themselves, it is essential that they are handled professionally: surtitles that are displayed unprofessionally or out of rhythm, or surtitles that include translation mistakes can have a very negative effect on a production – for the audience, but also for the artists involved.
TECHNICAL IMPLEMENTATION Technically, surtitles are displayed using a projector, LED panels, Met Titles (small screens in the seats in front of each audience member), tablets, smartphones or smart glasses. The translation work involved mostly remains the same whatever the media used. Various software programmes can be used to generate surtitles. These include programmes that are free of charge, such as PowerPoint and Glypheo, or licensed programmes such as Easytitler, Spectitular, Torticoli, Maestro or VICOM. The most recently developed programmes are better adapted to the task of surtitling and easier to use. Support in this field is available from, among others: Subtext, Sprachspiel, Werkhuis, Maison Antoine Vitez, AMDA, Precott Studio, Panthea or Bürozwei.
INTERPRETING OF PRODUCTIONS For productions that are very text-heavy, that use improvisation or whose set design does not allow for any projections, interpretation can be an appropriate option. Simultaneous interpreting requires the highest degree of concentration and a subtle understanding of what is happening on stage, and must absolutely be entrusted to professional theatre interpreters. It is usually advisable for audience members to wear headphones on one ear only, since they must also be able to register what is happening
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