Müzikal Tiyatro ve Filmlerde Şarkı Çevirisi: Karşılaştırmalı Bütünleşik bir Yaklaşımın Uygulanması

Year 2022, Volume: 32 Issue: 1, 341 - 378, 23.05.2022

Neslihan Kansu-yetkiner , Mehmet Şahin

https://doi.org/10.26650/LITERA2021-938947

Abstract

Bu çalışma, kiplikler arası ve ortamlar arası çeviri çeşitliliği çerçevesinde, şarkı çevirilerine yönelik çok kipli bütüncül bir yaklaşımı sunmayı ve uygulamayı ve söz konusu yaklaşım aracılığıyla, göstergesel kaynakların birbiriyle etkileşim hâlinde yaratabileceği anlamın ayrılmaz bir bütün olarak ele alınabileceğini ortaya koymayı amaçlamaktadır. Çalışmanın odak noktasını Türkiye’de hem müzikal tiyatro hem de müzikal film olarak çevirilmiş olan Damdaki Kemancı (Fiddler on the Roof) oluşturmaktadır. Eserin çözümlenmesi için Halliday’in Dizgeci İşlevsel Dilbilgisinden, Kress ve van Leeuwen’ın metin ve görsel dilbilgisini birleştirdiği bütüncül yaklaşımından ve van Leeuwen’ın (1999) müzik çözümlemesi çerçevesinden oluşan üçlü bir model oluşturulmuştur. Öte yandan, Türkiye’deki müzikal geleneğinin sunduğu tablo, müzikal filmlerdeki şarkı çevirilerinde televizyonların bir dönem devlet tekelinde olması nedeniyle istikrarlı bir seçimle daha çok karma çevirilerin yapıldığı yönündedir. Tiyatro müzikallerinde ise çeviri stratejilerinin daha geniş bir yelpazeye yayılması çoklu göstergelerin yer aldığı popüler sanat gösterimlerindeki, ideolojik ve ekonomik temellere dayalı uygulamalardan kaynaklanan dalgalanmalara ışık tutmaktadır. Derinlemesine çokkipli çözümlememiz, bütünleşik bir yaklaşımın müzikallerin edimsel ve anlatımsal boyutlarında birbiriyle kesişen gösterme sürecinin (semiyosis) potansiyel yoğunluğunu ortaya çıkarmıştır. Çokkipli çözümleme sayesinde ortaya çıkan bu yeni boyutlar yeni beceriler, bilgiler ve okuryazarlık gerekirmekte ve böylelikle çeviribiliminin sınırlarını genişletmektedir.

Keywords

Şarkı çevirisi, müzikaller, çokkiplilik, kiplikler arası çeviri, ortamlar arası çeviri

Intermodal and Intermedial Translation of Songs in Stage and Film Musicals: Application of an Integrated Approach in Turkish Context

Abstract

Engaging with a spectrum of intermodal and intermedial translation, the primary aim of this study is to present and apply a holistic multimodal approach to song translation through which the interaction of the potential meaning of semiotic resources can be considered as a composite and indivisible whole. The focus of this study is Fiddler on the Roof, chosen because it has been translated for both stage and film musicals in Turkiye. With this purpose, we adopted a triple model which operationalized Halliday’s Systemic Functional Grammar (SFG), Kress and van Leeuwen’s integrated approach by combining textual and visual grammar, and Leeuwen’s (1999) framework of musical analysis. Our historical approach to the Turkish musical landscape proposes that translation strategies for songs in film musicals reflect a consistent pattern of choice (mainly mixed translation) arising from state-monopolized TV impositions; while in contrast, for stage musicals, the wider range of translation strategies shed light on fluctuations in multi-semiotic popular arts entertainment, caused by ideologically- and economically-driven practices. Our in-depth multimodal analysis revealed that an integrated approach can bring to the surface the potential density of interacting semiosis in the performative and narrative dimensions of musicals. These new dimensions, enabled through a multimodal analysis, require new skills, knowledge and literacies, thus, expanding the boundaries of translation studies

Keywords

song translation, musicals, multimodality, intermodal translation, intermedial translation

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