Volume 9, Issue 2
  • ISSN 0924-1884
  • E-ISSN: 1569-9986
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Abstract: Previous work on opera translation has tended to focus on the practical difficulties of rendering a verbal text embedded in a musical score. Where issues of theoretical significance are raised, authors usually do not go beyond the prescriptive formulation of dos and don 'ts. Based on a classification of the various types of opera translation this paper outlines a theoretical framework of analysis based on the systematic investigation of the pragmatics of operatic production. Adopting a necessarily interdisciplinary approach, the author first explores the relationship between semiotics and translation studies. Then the semiotics of drama as modeled by Fischer-Lichte, who views operatic performance as text, is linked up with Holz-Manttari's action-theoretical model of translation so as to account for all the various translation-relevant stages and agents of operatic productions.Résumé: Longtemps, la recherche sur les traductions d'operas s'est appesantie sur les questions pratiques suscitees par la transposition d'un texte assorti a une partition de musique. Quant aux impliques theoriques, ils ne depassaient pas le niveau des prescriptions. Le present article esquisse un cadre theorique pour l'analyse des traductions, basee sur une investigation de la pragmatique des productions d'opera. Ce cadre s'inspire lui-meme d'une classification des divers types de traduction d 'opera. La demarche adoptee etant necessairement interdisciplinaire, l'auteur examine d'abord les relations entre la semiotique et les etudes de traduction. Ensuite, la semiotique dramaturgique d'apres laquelle la performance d'opera est conçue comme un texte (Fischer-Lichte), est reliee au modele de l'acte traduisant (Holz-Manttari), de maniere a rendre compte, relativement a la traduction, des differents stades et agents de productions d 'opera.


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  • Article Type: Research Article
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