ABSTRACT

The article aims to discuss Polish surtitles for the opera Eugene Onegin by Pyotr Tchaikovsky staged at the Polish National Opera in Warsaw. The point of departure is the question of power of the original and its translations seen as a constraining factor. It attempts to assess whether the canonical nature of the original source may be considered another constraint in the surtitling process along with the power of creative authors responsible for the staging. To this end, it presents a comparative analysis of three Polish translations of two arias, i.e. Letter Aria and Lensky's Aria, which help to determine how similar they are in terms of style, form and content, and which is subsequently followed with a multimodal analysis of the surtitles provided for the arias. It turned out that one of the translations served as the textual basis of the surtitles with a relatively high degree of correspondence. The literary status of this translation had a direct bearing on the shape of the surtitles, which did not cater for the semiotic integrity of the performance. As such, the power of the intermediary text should be considered another significant constraint in the process of surtitling.

摘要

本文旨在讨论彼得·柴可夫斯基 (Pyotr Tchaikovsky) 在华沙波兰国家歌剧院上演的歌剧尤金·奥涅金( Eugene Onegin)的波兰语字幕。出发点是原文的力量问题及其被视为限制因素的翻译。它试图评估是否可以将原始来源的规范性质与负责分期的创意作者的权力一起视为筛选过程中的另一个限制因素。为此，对两个咏叹调的三个波兰语译本，即Letter Aria和Lensky 的咏叹调进行了比较分析。，这有助于确定它们在风格、形式和内容方面的相似程度，随后对为咏叹调提供的字幕进行多模式分析。原来，其中一个译本作为字幕的文本基础，具有较高的对应度。这部译本的文学地位直接影响了字幕的形式，这不符合表演的符号完整性。因此，中间文本的力量应被视为附加字幕过程中的另一个重要约束。