ABSTRACT

This article deals with human and non-human agents of surtitling in Toronto and beyond. After its emergence at the opera in Toronto, surtitling travelled to the theatre, and to other parts of French-speaking Canada, North America and Europe. Based on interviews with theatre surtitlers and on their archived materials, this article tracks the invention, growth, social acceptance, standardization, and stagnation of surtitling technologies in Toronto. Three relational aspects of the process of surtitling as a medium of theatre translation are investigated to understand its effects on translators and translations now: the division of labour (or lack thereof) from the opera to the theatre; the standardization of the practice; and the intergenerational transmission of competence through informal training.

摘要

本文涉及多伦多及其他地区的字幕制作的人类和非人类代理人。在多伦多的歌剧院出现后，附加字幕被带到剧院，以及加拿大法语区、北美和欧洲的其他地区。基于对剧院字幕制作者的采访和他们的存档材料，本文追踪了多伦多字幕技术的发明、发展、社会接受、标准化和停滞。对作为戏剧翻译媒介的字幕过程的三个相关方面进行了调查，以了解其对现在翻译和翻译的影响：从歌剧到戏剧的分工（或缺乏分工）；实践的标准化；通过非正式培训代际传递能力。