Areas and Methods of Audiovisual Translation Research by Bogucki Łukasz

Author:Bogucki, Łukasz
Language: eng
Format: epub
Publisher: Peter Lang AG

Audiovisual transfer of humour

Translating humour has been the subject of many a dissertation and paper, based in particular on the influential textbook by Attardo (1994). The application of the said work to audiovisual transfer is of necessity somewhat limited, since Attardo concentrates on the linguistic dimension of verbal humour, devoting little if any attention to other aspects; his Chomskyan labelling of humour as “competence” is indicative of his priorities. However, models of rendering humour in audiovisual translation (e.g. Asimakoulas 2004) frequently take Attardo’s theory as a starting point. Attempts have also been made to taxonomise humorous elements in audiovisual material. Martínez-Sierra (2005) came up with the following eight categories: community and institution (realia), community sense of humour (elements considered humorous in certain communities), linguistic, visual, graphic (written message seen on screen), paralinguistic (narrative silence, prosodic features of voice, etc.), sound, and non-marked. This taxonomy was later adopted by Jankowska (2009).

In an earlier work, setting the foundation of humour research, Attardo and Raskin (1991) depart from a cognitive standpoint to arrive at a script-based theory of humour, whereby jokes are said to be based on the opposition or incongruity of scripts. Cognitive structures are internalised by the speaker and provide information on how the world is organised and how to act in it (see also Attardo 2002). It is to a large extent the cognitive dimension of humour that makes it particularly difficult to translate. Chiaro (2006: 198) quotes the results of interviews conducted among Italian dubbing industry operators that show that VEH (Verbally Expressed Humour) turns out to be the single most challenging obstacle in translations for the screen.

A successful rendition of humour is instantly measurable. The principle of equivalent effect (Nida 1964: 159) has been the cornerstone of translation quality assessment practically since the beginning of contemporary translation studies. By ← 75 | 76 → the same token, a felicitous rendition of a humorous passage evokes an effect comparable to that of the original, namely laughter. The (intended) humorous effect of a filmic message is proportionally very small in comparison to the effect of the entire polysemiotic audiovisual material on the audience. Naturally, wherever a successful translation is impossible (due to culture-specificity, applicable constraints, etc.), the technique of compensation may be employed. However, many audiovisual translators go to great lengths to render humour, flouting or disrespecting the rules of good practice. In The Devil Wears Prada, a movie about the ruthless world of fashion, many lines contain women’s clothing sizes, the smaller the better (e.g “two became the new four and zero became the new two”, “you bet your size six ass”). In the Polish version, European equivalents are used (34, 38 etc.), which is much less economical, but functionally much more appropriate in order to get the humour across.

Situational comedies (sitcoms) are an interesting case in point, as the humour is guided by the use of the laugh track (shows are taped in front of live audiences to record natural laughter). This has always been a controversial practice,

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