Résumés
Abstract
This article discusses the source text and reading situation of opera surtitles. It introduces opera from a multimodal viewpoint and differentiates between the dramatic text and the stage interpretation. With two versions of surtitles, it approaches two different surtitling strategies, the one that concentrates on the libretto and the other that focusses on the particular stage interpretation. As a result, the article asks if we should consider the stage interpretation to be the only appropriate source text of surtitles.
Keywords/Mots-clés:
- libretto,
- multimodality,
- multisemiotic text,
- opera,
- surtitling
Résumé
Quel est le texte de départ et quelle est la situation de lecture des sous-titres d’opéra ? Pour répondre à cette double question, l’auteure présente d’abord l’opéra dans une perspective multimodale, différenciant entre le texte dramatique et les représentations. A partir de deux versions sous-titrées, elle envisage deux stratégies de sous-titrage, l’une centrée sur le livret et l’autre orientée sur l’interprétation scénique, toujours particulière. Il en ressort que cette dernière pourrait être la seule source appropriée pour sous-titrer.
Parties annexes
References
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