DILMA MACHADO
LECTURE: THE BIGGEST MISTAKES THAT TRANSLATORS MAKE IN TRANSLATION FOR DUBBING
LECTURE: DUBBING AND SUBTITLING TRANSLATIONS – CONVERGING AND DIVERGING
BIO
Translator /Voice actress/ English teacher with 30 years experience. Major in translation English/Portuguese at PUC-RJ. At present, working for the dubbing/subtitling companies as a translator and voice actress: Delart, SferaStudios, Cinevídeo, Doublesound, Alcatéia. She has also worked for many others companies such as: MG Studio, Drei Marc, Herbert Richers, Dublamix, The Kitchen-Miami. Member of ABRATES (Brazilian Association of Translators), PROZ.com. and APTRAD.
Lecturer at Pontifícia Universidade Católica do Rio de Janeiro (PUC-RJ), Estácio de Sá University, FMU and Online, teaching the free course “Techniques of Translation for Dubbing”, with 23 years experience in translation. Author of the book O Processo da Tradução para a Dublagem Brasileira – Teoria e Prática (2017). Founder of ESTRADA- Escola de Tradução Audiovisual (2018)
ABSTRACT
THE BIGGEST MISTAKES TRANSLATORS MAKE IN TRANSLATION FOR DUBBING
In addition to the common mistakes we always see in audiovisual translations, be it dubbing or subtitling, there is also a file model error. Everything is important when it comes to translating for voice acting. There is not just one model for all companies, as it does in the voice acting countries we call FIGS- France, Italy, Germany, Spain. In Brazil, each company has its model, each customer has a requirement. Then one has to do his best to accomplish all the tasks requested. The focus is not on indiscriminate criticism of professionals working in the field, but on the teaching of what must be done in a translation so that it flows in the studio.
DUBBING AND SUBTITLING TRANSLATIONS – CONVERGING AND DIVERGING’
In order for the viewer to enjoy all the experience brought by a foreign audiovisual product, the role of the translator for dubbing or subtitling is essential. It is the translator who will give access to textual information to the non-second-language viewer and, for this, he/she needs to use characteristic techniques of each modality, making the contact with the product pleasant and the text, consistent with the given message. Dubbing and subtitling have different characteristics that respect, among other aspects, the limitation of time and space, types of synchronisms (Agost and Chaume, 1996, p.208) and the viewer's ability to contemplate textual and imagistic information simultaneously. The lecture will draw parallels between the two modalities through examples of works by peers and the speakers themselves, as well as identifying possible similarities that can enrich the experience of the main target, the viewer.