When we focus our attention on a particular opera and observe the transformations it undergoes until the final performance, we realise that these include both adaptation and translation, two fields which are not always easy to separate and very often interdependent. The final version presented to the public will therefore bear the mark of all these superimposed voices, creating a dense palimpsest, a text saturated with the subjectivity markers of each of those involved in the adaptation and translation process. This is equally the case for the translations by opera audio describers. But what exactly is their role? What function should they perform? Are they only to translate the cause and remain oblivious to its effects? Or rather, is not subjectivity unavoidable? To what extent is it not also the audio describer's responsibility to transmit emotions engendered by nuances of light, the plasticity of images or the expressiveness of movements? Or is this going beyond the tasks expected of them? These are some of the questions this article attempts to address.
|Publication status||Published - 27 Nov 2012|
- Audio description