Prefabricated orality in theatre translations: An overview based on an English-Spanish parallel corpus

Prefabricated orality is an inherent trait of dramatic texts, given their written-to-be-spoken nature. From the perspective of translation, it has been observed in the literature that rendering this specific mode of discourse into another language poses a major challenge (Baños & Chaume, 2009). However, scant attention has thus far been paid to how prefabricated orality is realised linguistically in translations of theatre plays. This article sets out to offer an overview of syntactic and lexical-semantic features that mirror spoken discourse in a parallel corpus of theatre texts. More specifically, by drawing on an analytical framework proposed for audiovisual texts (Baños, 2014: 414), it aims (1) to verify the presence and incidence of orality markers in the original plays and their translations, and (2) to identify tendencies in translation techniques. Our findings reveal that playwrights and translators resort to a wide range of linguistic features typical of spoken discourse, especially vocatives, repetitions, discourse markers, intensifiers and deixis. In addition, results bring to light the use of different translation options and a possible compensation strategy

Peter Shaffer in Spain

10 p. -- Esta es una versión abreviada del artículo Merino-Álvarez, Raquel y Andaluz-Pinedo, Olaia (2017): "Peter Shaffer en la cultura española", Creneida, 5, pp. 239-278, http://hdl.handle.net/10810/36403. Traducción de Olaia Andaluz Pinedo.[ES] Este artículo se centra en la integración de las obras del dramaturgo británico Peter Shaffer en las culturas españolas. Durante el franquismo, ayudaron a introducir temas tabúes en los escenarios, tales como la homosexualidad (Five Finger Exercise / Ejercicio para cinco dedos) o el desnudo integral (Equus). Las sucesivas representaciones, ediciones y adaptaciones cinematográficas de las piezas de Shaffer (en particular Amadeus) han consolidado su presencia en el decurso literario del país hasta nuestros días. Siguiendo la metodología TRACE, se analiza en primer lugar el catálogo de traducciones de los dramas de Shaffer, prestando especial atención al proceso de censura, y posteriormente se estudia el corpus textual disponible, utilizando la herramienta Taligner. De esta forma, se pretende ofrecer una visión de la pervivencia de Shaffer en España, desde 1959 hasta 2016.[EN] This article focuses on the integration of the works of British playwright Peter Shaffer in Spanish culture. During the Franco period, this author’s plays helped introduce taboo topics on stage, such as homosexuality (Five Finger Exercise / Ejercicio para cinco dedos) or full-frontal nudity (Equus). The successive performances, publications and film adaptations of Shaffer’s plays (Amadeus in particular) have consolidated the playwright’s presence in the country’s cultural life to this date. Following the TRACE methodology, firstly the catalogue of translations of Shaffer’s plays is analysed, paying special attention to the censorship process, and subsequently the available textual corpus is studied, using the tool Taligner. By doing so we try to offer a view of Shaffer’s perdurance in Spain, from 1959 to 2016Grupo TRALIMA/ITZULIK, GIU 16/48, Universidad del País Vasco, UPV/EHU (http://www.ehu.eus/tralima/ www.ehu.eus/es/web/tralimaitzulik); proyecto IDENTITRA, MINECO, FFI2015-68572-P, G15/P75

Arias-Badia, B. (2020) Subtitling Television Series. A Corpus-Driven Study of Police Procedurals. Oxford: Peter Lang. 244 pp. ISBN 978-1-78707-796-6. Review

The volume Subtitling Television Series. A Corpus-Driven Study of Police Procedurals by Dr Blanca Arias-Badia (Universitat Autònoma de Barcelona) reports on a study of linguistic features present in a corpus of English scripted dialogue and Spanish subtitling compiled ad hoc, the Corpus of Police Procedurals (CoPP). More specifically, this work, framed within descriptive Audiovisual Translation (AVT), focuses on quantitative and qualitative analyses of syntactical and lexical features in the original script as well as in the subtitled version of the TV series which make up the corpus: Castle, Dexter and The Mentalist. By doing so, it delves into the relevant yet underexplored area of fictive orality in subtitling through an innovative methodology in this field, the corpus-driven approach. It is a refreshing contribution which will undoubtedly be of interest for Translation Studies and Corpus Linguistics researchers.At the time of writing this review, the author is a doctoral student funded by the University of the Basque Country UPV/EHU, Spain (PIF17/4

Peter Shaffer in Spain

10 p. -- Esta es una versión abreviada del artículo Merino-Álvarez, Raquel y Andaluz-Pinedo, Olaia (2017): "Peter Shaffer en la cultura española", Creneida, 5, pp. 239-278, http://hdl.handle.net/10810/36403. Traducción de Olaia Andaluz Pinedo.[ES] Este artículo se centra en la integración de las obras del dramaturgo británico Peter Shaffer en las culturas españolas. Durante el franquismo, ayudaron a introducir temas tabúes en los escenarios, tales como la homosexualidad (Five Finger Exercise / Ejercicio para cinco dedos) o el desnudo integral (Equus). Las sucesivas representaciones, ediciones y adaptaciones cinematográficas de las piezas de Shaffer (en particular Amadeus) han consolidado su presencia en el decurso literario del país hasta nuestros días. Siguiendo la metodología TRACE, se analiza en primer lugar el catálogo de traducciones de los dramas de Shaffer, prestando especial atención al proceso de censura, y posteriormente se estudia el corpus textual disponible, utilizando la herramienta Taligner. De esta forma, se pretende ofrecer una visión de la pervivencia de Shaffer en España, desde 1959 hasta 2016.[EN] This article focuses on the integration of the works of British playwright Peter Shaffer in Spanish culture. During the Franco period, this author’s plays helped introduce taboo topics on stage, such as homosexuality (Five Finger Exercise / Ejercicio para cinco dedos) or full-frontal nudity (Equus). The successive performances, publications and film adaptations of Shaffer’s plays (Amadeus in particular) have consolidated the playwright’s presence in the country’s cultural life to this date. Following the TRACE methodology, firstly the catalogue of translations of Shaffer’s plays is analysed, paying special attention to the censorship process, and subsequently the available textual corpus is studied, using the tool Taligner. By doing so we try to offer a view of Shaffer’s perdurance in Spain, from 1959 to 2016Grupo TRALIMA/ITZULIK, GIU 16/48, Universidad del País Vasco, UPV/EHU (http://www.ehu.eus/tralima/ www.ehu.eus/es/web/tralimaitzulik); proyecto IDENTITRA, MINECO, FFI2015-68572-P, G15/P75

Arias-Badia, B. (2020) Subtitling Television Series. A Corpus-Driven Study of Police Procedurals. Oxford: Peter Lang. 244 pp. ISBN 978-1-78707-796-6. Review

The volume Subtitling Television Series. A Corpus-Driven Study of Police Procedurals by Dr Blanca Arias-Badia (Universitat Autònoma de Barcelona) reports on a study of linguistic features present in a corpus of English scripted dialogue and Spanish subtitling compiled ad hoc, the Corpus of Police Procedurals (CoPP). More specifically, this work, framed within descriptive Audiovisual Translation (AVT), focuses on quantitative and qualitative analyses of syntactical and lexical features in the original script as well as in the subtitled version of the TV series which make up the corpus: Castle, Dexter and The Mentalist. By doing so, it delves into the relevant yet underexplored area of fictive orality in subtitling through an innovative methodology in this field, the corpus-driven approach. It is a refreshing contribution which will undoubtedly be of interest for Translation Studies and Corpus Linguistics researchers.At the time of writing this review, the author is a doctoral student funded by the University of the Basque Country UPV/EHU, Spain (PIF17/4

OpenTagger: A flexible and user-friendly linguistic tagger

Linguistic annotation adds valuable information to a corpus. Annotated corpora are highly useful for linguists since they increase the range of linguistic phenomena that may be registered, categorised and retrieved. In addition, they are also significant for machines, as Natural Language Processing applications involve working with well-annotated data (e.g. Imran, Mitra and Castillo 2016) and some machine learning classifiers employ annotated data to test or train new language annotation tools, among other uses. In this regard, Pustejovsky and Stubbs (2012) report on stages for building annotated corpora to train machine learning algorithms. This paper describes OpenTagger, a new linguistic tagger that allows users to include any type of information to the different paragraphs, sentences, or words that compose a text. OpenTagger is characterised by its high usability and flexibility. It is a web application that allows users to manually annotate texts using their own predefined tag set or creating a new one. Thus, it offers an answer to any need for a tailor-made annotation system. This tagset may include nested categories. In addition, multiple layers of annotation are possible. The annotation process is very easy and provides two options: i) Selecting text and tagging; ii) Selecting a tag and annotating as much text as precissed. OpenTagger also includes a search box to query the text and retrieve relevant sections for tagging. In sum, the open character of this tool and its user-friendliness allows extending the benefits of annotation to a wider variety of research questions. OpenTagger differs from others well-known taggers such as Nooj (Silberztein, 2005) because of its simplicity and web access, as it is not specialised for grammar construction or other complex processes. Potential users range from novel linguist researchers to experts. Last, it should be mentioned that a further integration within the corpus analysis software ACTRES Corpus Manager (Sanjurjo-González, 2017) is planned for the future. OpenTagger will make the process of building and querying custom annotated corpora more straightforward using ACM.ACTRES, TRALIMA/ITZULIK, GIU19/067, Gobierno Vasco IT1209/1

Statistics and visualisations of theatre corpora using corpus analysis software

38º Congreso Internacional AESLA (2021)Corpus linguistics is a powerful quantitative methodology that relies on frequency data and statistical procedures (Han 2019). According to Gries (2013), scientific quantitative research has three main goals: description, explanation and prediction of data. Within this frame, statistics makes sense of quantitative data by means of analysis and useful visualisations (Brezina 2018). There are many techniques that have been designed for monolingual corpora such as statistical identification of collocations or keywords. While most of these can also be applied to different types of corpora, such as parallel and comparable ones, it seems that a dedicated set of statistics related to structural singularities of text types such as theatre plays is missing. In this study, we propose a range of different adaptations of statistics and visualisations that apply and interrelate theatre-specific filters. Dramatic texts division in structural units is a specific feature of this genre (Andaluz-Pinedo and Sanjurjo-González in press). Utterances, speakers, stage directions and dialogues are an intrinsic part of these texts that must be taken into account when developing useful and descriptive statistical procedures. It is thus necessary to offer statistics and visualizations that apply and interrelate theatre-specific filters. Some examples of this adaptation may be quantitative analysis based on the units of characters, utterances, stage directions and dialogues instead of using all the texts data as a whole. As Anthony states (2013), “the functionality offered by software tools largely dictates what corpus linguistics research methods are available to a researcher”. In order to improve this functionality when theatre corpora are analysed, further work includes the integration of this approach into an existing corpus analysis software that processes theatre play-texts such as ACTRES Corpus Manager (Sanjurjo-González, 2017)

Corpus tools for parallel corpora of theatre plays: an introduction to TAligner and ACM-theatre

Software tools are of vital importance in corpus-based research, but they can also lead to restrictions on the type of supported corpora and the range of analyses that can be performed. For example, corpus analysis tools, as general purpose software, do not include specific features to process corpora of theatre plays. This situation is even worse for parallel corpora of theatrical texts, in that there is currently a lack of software that allows for both the alignment and analysis of parallel corpora here. In this contribution, we will first outline the peculiarities of theatre texts and suggest three software features to address them: annotation of the structural units of plays, alignment at the utterance level, and concordances and statistics using the annotated units. Second, we will present the specific functionalities of TAligner and ACM to build and analyse parallel corpora of play texts, showing how new avenues of research are opening up with the development of these tools.Part of this study was funded by the Spanish Agency for Research, Development and Innovation (Ministry of Economy and Competitiveness) [FFI2016-75672-R]. At the time of writing, the co-author Olaia Andaluz-Pinedo is a doctoral student funded by the University of the Basque Country UPV/EHU, Spain

OpenTagger: A flexible and user-friendly linguistic tagger

Linguistic annotation adds valuable information to a corpus. Annotated corpora are highly useful for linguists since they increase the range of linguistic phenomena that may be registered, categorised and retrieved. In addition, they are also significant for machines, as Natural Language Processing applications involve working with well-annotated data (e.g. Imran, Mitra and Castillo 2016) and some machine learning classifiers employ annotated data to test or train new language annotation tools, among other uses. In this regard, Pustejovsky and Stubbs (2012) report on stages for building annotated corpora to train machine learning algorithms. This paper describes OpenTagger, a new linguistic tagger that allows users to include any type of information to the different paragraphs, sentences, or words that compose a text. OpenTagger is characterised by its high usability and flexibility. It is a web application that allows users to manually annotate texts using their own predefined tag set or creating a new one. Thus, it offers an answer to any need for a tailor-made annotation system. This tagset may include nested categories. In addition, multiple layers of annotation are possible. The annotation process is very easy and provides two options: i) Selecting text and tagging; ii) Selecting a tag and annotating as much text as precissed. OpenTagger also includes a search box to query the text and retrieve relevant sections for tagging. In sum, the open character of this tool and its user-friendliness allows extending the benefits of annotation to a wider variety of research questions. OpenTagger differs from others well-known taggers such as Nooj (Silberztein, 2005) because of its simplicity and web access, as it is not specialised for grammar construction or other complex processes. Potential users range from novel linguist researchers to experts. Last, it should be mentioned that a further integration within the corpus analysis software ACTRES Corpus Manager (Sanjurjo-González, 2017) is planned for the future. OpenTagger will make the process of building and querying custom annotated corpora more straightforward using ACM.ACTRES, TRALIMA/ITZULIK, GIU19/067, Gobierno Vasco IT1209/1

La censura del teatro de Samuel Beckett en España (1955-1978)

José Francisco Fernández, editor. -- (Literatura; 97)Direcciones de correo electrónico de las autoras: Olaia Andaluz-Pinedo ([email protected]); Raquel Merino-Álvarez ([email protected])[ES] Desde 1955, año en que se estrena Esperando a Godot en Madrid, las obras teatrales de Samuel Beckett se han representado de forma constante en España. Esta contribución tratará de reconstruir la entrada e integración de las producciones de este autor durante el franquismo. Para ello, hemos recurrido al Archivo General de la Administración (AGA), una valiosa fuente documental para entender la historia del teatro traducido durante un periodo en que existía la censura obligatoria para las representaciones. Entre 1955 y 1978, fecha del fin de la censura oficial, se han localizado 41 expedientes de censura para piezas dramáticas de Beckett. Los títulos a los que se refieren dichos expedientes, siguiendo el orden cronológico de las solicitudes de representación, son Esperando a Godot (1955), Final de partida (1958), Acto sin palabras (1959), La última cinta (1959), Días Felices (1963), Beckett 66 (Eh Joe, Come & Go, Words) (1966), Comedia (1969) y Poemas de Samuel Beckett (1969). Por otra parte, algunos expedientes están relacionados con producciones basadas en fragmentos de obras de Beckett: Qué prefiere usted pasión o desolación (1970), Requiebros oníricos o históricos sobre la metafísica Beckettiana (1971) y Obra inacabada (1973). La consulta en profundidad de las abundantes evidencias documentales archivadas en los expedientes arrojará luz sobre la llegada de las obras (traducidas) de Beckett a los escenarios españoles durante más de veinte años.[EN] Since 1955, the year of Waiting for Godot’s premier in Madrid, Samuel Beckett’s plays have had a constant presence on Spanish stages. This chapter attempts to reconstruct the entrance and integration of theatre productions of this author during Francoism. For that purpose, we have consulted the AGA (Spanish censorship archives), a valuable documentary resource to understand history of translated theatre during a period when there was compulsory censorship for theatre performances. Between 1955 and 1978, when official censorship ended, 41 censorship records related to Beckett’s dramatic works were found. The titles that those records refer to are, in chronological order of applications to stage them, Waiting for Godot (1955), Endgame (1958), Act Without Words (1959), Krapp’s Last Tape (1959), Happy Days (1963), Beckett 66 (Eh Joe, Come and Go, Words) (1966), Play (1969) and Poemas de Samuel Beckett (poems) (1969). Other records are associated to productions based on fragments of Beckett’s works: Qué prefiere usted pasión o desolación (1970), Requiebros oníricos o históricos sobre la metafísica Beckettiana (1971) y Obra inacabada (1973). An in-depth study of the rich documentation filed in the censorship records will shed light on the introduction of Beckett’s (translated) plays to Spanish audiences for over twenty years.Las autoras desearían agradecer la ayuda prestada para la realización de este trabajo a Grupo TRALIMA/ITZULIK, GIU 16/48, Universidad del País Vasco, UPV/EHU, IT1209/19, Gobierno Vasco (http://www.ehu.eus/tralima/, https://addi.ehu.es/handle/10810/3443); PIF17/46, UPV/EHU. Proyecto IDENTITRA, MINECO FFI2015-68572-P. Red de Excelencia CorpusNet, MINECO, FFI2016-81934- RED