Textual Translation and Live Translation

Poyatus Fernando 2008. Textual Translation and Live Translation: The total experience of nonverbal communication in literature, theater and cinema. Amsterdam: John Benjamins Publishing Company.

...rather than making a count of nonverbal components, textual selections are shown chronologically, using abbreviations for paralanguage (p), kinesics (k), proxemics (px), food (f), object-adaptor (oa), body-adaptor (ba). (Poyatos 2008: 42)

Poyatose tähised kirjanduses esinevatele mitteverbaalsetele elementidele.

Verbal language-kinesics, that is, verbal expressions which are always accompanied by the corresponding kinesic equivalent, either because there is a verbal reference to the gesture or because the speaker of the source culture typically accompanies specific verbal expressions with fixed kinesic cobehaviors as emblematic constructs or as those ‘most native’ speech‐accompanying behaviors we call ‘speech markers,’ in either case unsuspected by the foreign reader. (Poyatos 2008: 55)

Tenjese nimetatud lexial affiliates (käežestide puhul) on siin vastupidiselt ja laiemalt, sõnadega koos-esinevad kineesilised konstruktsioonid, sj emblemaatilised ehk kultuurist sõltuvad.

Directly related to our experience are the characteristics of the different spaces, shapes and volumes of the different environments we interact with in many ways, with their protuberances, sharp or blunt edges, corners, round surfaces. All this our bodies perceive through the sense of kinesthesia, that is, awareness of the position of our body and limbs with relation to a substratum and whatever we come in contact with and which operates through joints, muscles, tendons and nerves. That is how we perceive, for instance, the person we embrace or share a couch with, an airport’s moving travellator under our feet, the very ground we tread or drive on, our tugging at a bell’s chain, or the vehicle we ride on or drive and the pavement. But not infrequently the translator will have to convey the characters’, hence the reader’s, kinesthetic experiences that belong to other historical periods, such as those involving transportation conveyances, although these experiences we actually see now in films, which easily trigger all manner of synesthesial imagined perception. (Poyatos 2008: 67)

Huvitav, et mida muidu tuntakse embodiment nimetuse all, on Poyatosel kinesteesia, ehk pisut tuntum meditsiiniline termin.

However, we must concede that between the playwright’s character and the reader-actor’s and director’s there exists a behavioral margin which makes it possible for the latter two to see a Willy Loman, a Laura, or Ibsen’s Edda Gabbler slightly different, particularly as to their paralanguage and kinesics, just as real-life people may naturally vary due to specific circumstances. It is precisely this narrow personality margin, skilfully defined in the stage director’s notes and in the movie script, that reveals the fictional nature of those characters, without going beyond the features suggested by the possible initial presentation and subsequent stage directions... (Poyatos 2008: 139)

"Käitumise serv", ehk kirjutaja enda, režissööri ja tegeliku näitleja tegelaskujude käitumusliku repertuaari erinevused.

Other self-adaptor sounds (some, as can be seen, audible only to oneself, but meaningfully so nevertheless) include, for instance: chattering, clicking, grating, grinding, gritting, gnashing or clicking teeth; clapping hands; clicking fingernails, cracking the knuckles; pounding fist to hand-palm; rubbing hands, scratching vigorously; slapping one’s forehead or thigh; snapping fingers; thudding on chest with a first. (Poyatos 2008: 222)

Enese-kommunikatiivsed helid, ehk enese-kommunikatiivne fonokineesika.

If the performers cannot intuit that kinesics which is not explicitly described, or not specified in its execution and parakinesic features, it leads above all to a failed cultural interpretation which is quite frequent when some foreign actors are unfamiliar with the characters’ original background and, therefore, carry out on the stage what we can call intercultural masking, which is tantamount to ‘intercultural mistranslation.’ (Poyatos 2008: 282)

Nii juhtub Fahrenheit 451s (1966 film) selle tõttu, et osalised (kirjanik, režissöör ja näitlejad) on erinevate kultuuriliste taustadega. Filmis teeb Guy Montagi kehastav Oskar Werner kultuuriliselt kohatuid käežeste.