Efeitos de humor na dublagem para o português da série "The Big Bang Theory"
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Data
2022-09-14
Autores
Santos, Letícia Ferreira dos
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Universidade Estadual Paulista (Unesp)
Resumo
A série “The Big Bang Theory” recebeu muitas críticas sobre a sua dublagem, o que afetou sua recepção na TV aberta. No entanto, o seu consumo em plataformas de streaming foi diferente. Esses novos meios digitais permitem atualmente ao espectador tomar a decisão de assistir quando quiser, como quiser, se legendado ou dublado (DORE, 2019; CHAUME, 2018). Assim, este estudo tem o objetivo de compreender as escolhas tradutórias para a dublagem no contexto brasileiro, em especial os efeitos de humor provocados pelas decisões do tradutor. Para isso, optou-se para a análise dos trechos selecionados a Teoria Geral do Humor Verbal (GTVH) de Attardo e Raskin (1991) dentro dos Estudos Descritivos da Tradução e com viés na Análise do Discurso de linha francesa (FOUCAULT, 2014 [1971]; MAINGUENEAU, 2020, 2015, 2011, 2008), em especial pela visão de Sírio Possenti que considera o humor um campo discursivo, por meio das teorias de Bourdieu (POSSENTI, 1998, 2009, 2011, 2018, 2021). Selecionou-se para o corpora cinco episódios dentre as doze temporadas do programa, as quais são “Pilot” (temporada 1, episódio 1), “The Fuzzy Boots Corollary (temporada 1, episódio 3), “The Extract Obliteration” (temporada 6, episódio 6), “The Tranksgiving Decoupling” (temporada 7, episódio 9) e, por fim, “The VCR Illumination” (temporada 12, episódio 10). Percebe-se que em alguns casos haverá apagamentos por impossibilidade de transmitir o humor no contexto da língua de chegada, mas que serão compensados em outros momentos por meio de acréscimos de trocadilhos ou jogos de palavras. Além disso, a tradução, em conjunto com as restrições da dublagem, sempre implicará em adaptações culturais e domesticadoras para que o público-alvo perceba as afirmações como humor.
The TV show “The Big Bang Theory” has been criticized for its Portuguese dubbing and, as a result, having low rates of audience in a Brazilian TV open channel. However, we can say its reception on streaming platforms had a different reaction. That is consequence of new digital media which allow the viewers choose when to watch, what to watch, subtitled or dubbed (DORE, 2019; CHAUME, 2018). In this sense, this study aims to understand the translational choices for dubbing in Brazilian environment, especially concerning to humour effects caused by the translation. We analised dialogues intended to be funny by the General Theory of Verbal Humour (ATTARDO & RASKIN, 1991) and Discourse Analysis (FOUCAULT, 2014 [1971]; MAINGUENEAU, 2020, 2015, 2011, 2008), especially Sírio Possenti who considers humour as a field by using Bourdieu’s theory (POSSENTI, 1998, 2009, 2011, 2018, 2021). We chose five episodes from different seasons which are “Pilot” (season 1, episode 1), “The Fuzzy Boots Corollary (season 1, episode 3), “The Extract Obliteration” (season 6, episode 6), “The Tranksgiving Decoupling” (season 7, episode 9) e, por fim, “The VCR Illumination” (season 12, episode 10). We observed some cases of omission that are compensated afterwards with puns, for example, because is not possible transfer the same elements of humour in the cultural target language. By this means, we understand that translation dubbing will always adapt cultural references and be domesticating in order to be perceptive by the public and to submit itself to the many constraits of the dubbing industry.
The TV show “The Big Bang Theory” has been criticized for its Portuguese dubbing and, as a result, having low rates of audience in a Brazilian TV open channel. However, we can say its reception on streaming platforms had a different reaction. That is consequence of new digital media which allow the viewers choose when to watch, what to watch, subtitled or dubbed (DORE, 2019; CHAUME, 2018). In this sense, this study aims to understand the translational choices for dubbing in Brazilian environment, especially concerning to humour effects caused by the translation. We analised dialogues intended to be funny by the General Theory of Verbal Humour (ATTARDO & RASKIN, 1991) and Discourse Analysis (FOUCAULT, 2014 [1971]; MAINGUENEAU, 2020, 2015, 2011, 2008), especially Sírio Possenti who considers humour as a field by using Bourdieu’s theory (POSSENTI, 1998, 2009, 2011, 2018, 2021). We chose five episodes from different seasons which are “Pilot” (season 1, episode 1), “The Fuzzy Boots Corollary (season 1, episode 3), “The Extract Obliteration” (season 6, episode 6), “The Tranksgiving Decoupling” (season 7, episode 9) e, por fim, “The VCR Illumination” (season 12, episode 10). We observed some cases of omission that are compensated afterwards with puns, for example, because is not possible transfer the same elements of humour in the cultural target language. By this means, we understand that translation dubbing will always adapt cultural references and be domesticating in order to be perceptive by the public and to submit itself to the many constraits of the dubbing industry.
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Palavras-chave
Linguística, Humor, Tradução e interpretação, Applied linguistics, Humour, Translation studies