روشﻫﺎي ﺗﺮﺟﻤﮥ آواﺧﺘﻨﯽ آﻫﻨﮓﻫﺎ در دوﺑﻠﮥ ﻓﺎرﺳﯽ ﭘﻮﯾﺎﻧﻤﺎﯾﯽ ﻟﻮراﮐﺲ

Translation Approaches of Singable Songs in the Dubbing of Lorax

ﺗﺮﺟﻤﮥ آﻫﻨﮓ ﮔﻮﻧﻪاي از ﺗﺮﺟﻤﻪ اﺳﺖ ﮐﻪ در آن دو ﺑﻌﺪ زﺑﺎﻧﯽ و ﻣﻮﺳﯿﻘﺎﯾﯽ ﺑﺎ ﻫﻢ درآﻣﯿﺨﺘﻪاﻧﺪ و اﯾﻦ آﻣﯿﺨﺘﮕﯽ ﺑﺮ ﺳﺨﺘﯽ آن ﻣﯽاﻓﺰاﯾﺪ. ﺗﺮﺟﻤﮥ آﻫﻨﮓ ﺑﻪﻋﻨﻮان زﯾﺮﺷﺎﺧﻪاي از ﺗﺮﺟﻤﮥ دﯾﺪاريﺷﻨﯿﺪاري در ﺳﺎلﻫﺎي اﺧﯿﺮ در اﯾﺮان روﻧﺪ روﺑﻪرﺷﺪي داﺷﺘﻪ اﺳﺖ و ﻣﻮرد ﺗﻮﺟﻪ و اﺳﺘﻘﺒﺎل ﺷﺮﮐﺖﻫﺎي دوﺑﻼژ ﻓﯿﻠﻢ ﻫﻢ ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ. در اﯾﻦ ﻧﻮع ﺗﺮﺟﻤﻪ، ﻏﯿﺮ از ﺗﺮﺟﻤﮥ ﻣﺤﺘﻮﯾﺎت زﺑﺎﻧﯽ، اﺑﻌﺎد ﻣﻮﺳﯿﻘﺎﯾﯽ ﻧﯿﺰ ﺑﺎﯾﺪ ﻣﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﯿﺮﻧﺪ ﮐﻪ در اﯾﻦ ﭘﮋوﻫﺶ ﺑﺮ آن ﺗﺄﮐﯿﺪ ﺷﺪه اﺳﺖ. ﻣﺘﺮﺟﻤﺎن در دوﺑﻠﮥ آﻫﻨﮓﻫﺎي ﭘﻮﯾﺎﻧﻤﺎﯾﯽﻫﺎ ﺑﺎ دﺷﻮاريﻫﺎي ﻣﺘﻌﺪدي روﺑﻪرو ﻫﺴﺘﻨﺪ، زﯾﺮا ﺑﺎﯾﺪ ﻣﻮﺳﯿﻘﯽ و ﺗﺮاﻧﻪ را ﻫﻤﺎﻫﻨﮓ ﮐﻨﻨﺪ ﺗﺎ ﻣﺤﺼﻮل ﻧﻬﺎﯾﯽ، ﺗﺮﺟﻤﻪاي آواﺧﺘﻨﯽ ﺑﺎﺷﺪ و در ﻋﯿﻦ ﺣﺎل ﺑﺎ ﻣﻀﻤﻮن ﺗﺮاﻧﮥ ﻣﺒﺪأ و ﻓﻀﺎي آﻫﻨﮓ ﻧﯿﺰ ﻫﻢﺧﻮاﻧﯽ داﺷﺘﻪ ﺑﺎﺷﺪ. ﻫﺪف از ﭘﮋوﻫﺶ ﺣﺎﺿﺮ، ﯾﺎﻓﺘﻦ روشﻫﺎي ﺗﺮﺟﻤﮥ آواﺧﺘﻨﯽ آﻫﻨﮓ ﺑﺮ ﭘﺎﯾﮥ ﻣﺪل ﻓﺮاﻧﺰون )2008( ﺑﺎ در ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺑُﻌﺪ ﻣﻮﺳﯿﻘﺎﯾﯽ دوﺑﻠﮥ ﭘﻮﯾﺎﻧﻤﺎﯾﯽ ﻣﻮزﯾﮑﺎل ﻟﻮراﮐﺲ )ﻗِﻨﻮ و ﺑﺎﻟﺪا، 2012( اﺳﺖ. در ﺗﺮﺟﻤﮥ آﻫﻨﮓﻫﺎي ﭘﻮﯾﺎﻧﻤﺎﯾﯽ دوﺑﻠﻪﺷﺪة ﻟﻮراﮐﺲ ﺑﻨﺎ ﺑﺮ ﻣﺪل ﻓﺮاﻧﺰون )2008( از ﯾﮏ روش ﻣﺤﺾ ﺗﺮﺟﻤﻪاي اﺳﺘﻔﺎده ﻧﺸﺪه ﺑﻮد. از ﻣﺠﻤﻮع ﭘﻨﺞ ﻗﻄﻌﻪ آﻫﻨﮓ اﯾﻦ ﭘﻮﯾﺎﻧﻤﺎﯾﯽ، در ﭼﻬﺎر ﻗﻄﻌﻪ آﻫﻨﮓ، ﻣﻮﺳﯿﻘﯽ ﻣﺒﺪأ ﺑﺪون ﺗﻐﯿﯿﺮ ﺣﻔﻆ ﺷﺪه ﺑﻮد و ﺗﺮاﻧﻪﻫﺎ ﺑﺮاي ﻫﻤﺎﻫﻨﮕﯽ ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﻣﺒﺪأ ﺑﺎزﻧﻮﯾﺴﯽ ﯾﺎ ﺗﺮﺟﻤﻪ ﺷﺪه ﺑﻮدﻧﺪ؛ اﯾﻦ ﯾﻌﻨﯽ ﺗﻠﻔﯿﻖ روش ﺳﻮم و ﭘﻨﺠﻢ ﻓﺮاﻧﺰون )2008( و در ﯾﮏ ﻗﻄﻌﻪ آﻫﻨﮓ، ﻣﻮﺳﯿﻘﯽ ﻣﺒﺪأ ﻋﻮض ﺷﺪه ﺑﻮد و ﺗﺮاﻧﻪﻫﺎ ﻧﯿﺰ ﺑﺮاي ﻫﻤﺎﻫﻨﮕﯽ ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﺑﺎزﻧﻮﯾﺴﯽ ﺷﺪه ﺑﻮدﻧﺪ ﮐﻪ ﺑﻨﺎﺑﺮ ﻣﺪل ﻣﺬﮐﻮر ﯾﻌﻨﯽ از ﺗﻠﻔﯿﻖ روش ﺳﻮم و ﭼﻬﺎرم اﺳﺘﻔﺎده ﺷﺪه ﺑﻮد. در اﻧﺘﻬﺎ، ﮐﺎرﺑﺮدﻫﺎي آﻣﻮزﺷﯽ و ﭘﮋوﻫﺸﯽ ﯾﺎﻓﺘﻪﻫﺎ ﺑﺤﺚ ﺷﺪهاﻧﺪ.

Song translation as a subcategory of Audiovisual translation has been welcomed by the dubbing industry in Iran. It is a translation in which both linguistic and musical dimensions are closely integrated, therefore such a strong connection adds to its translation difficulties. This study determines the significance of the musical dimension as a major constraint in the translation of songs. Producing singable translation has been the most challenging task for song translators. The purpose of the present study is to take into account the musical dimension of musical animation The Lorax (Reaud and Balda, 2012) dubbed into Persian based on Franzon (2008) song translation model, determining the methods of producing singable translation of songs. As the results suggest, according to the adopted model, there was not an absolute translation method in the translation of songs dubbed into Persian, instead integrated methods of song translation were applied. To illustrate, the original music in four pieces of songs of the animation The Lorax (2012) was preserved. Therefore, the Persian lyrics were rewritten or translated but in one piece of song, the original music was changed to adapt to the rewritten Persian lyrics. This is the combination of the third and fifth as well as third and fourth approaches of song translation