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The Simpsons Am Beispiel Der 17 DIPLOMARBEIT Titel der Diplomarbeit Vom Dialogbuch zur fertigen Episode. Veränderungen durch die deutschsprachige Synchronisation der U.S. amerikanischen Zeichentrickserie The Simpsons am Beispiel der 17. Staffel. Verfasser Patrick Seirafi angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- u. Medienwissenschaft Betreuer: Mag. Dr. habil. Ramón Reichert Abbildungsverzeichnis ............................................................................. 6 1. Einleitung ............................................................................................... 8 2. Theoretische Grundlagen der Übersetzungswissenschaft ............. 12 2.1 Arten der Übersetzung ............................................................................ 12 2.2 Übersetzungskritik .................................................................................. 13 2.3 Zur Definition eines Übersetzungsbegriffs ........................................... 13 2.4 Die Skopostheorie ................................................................................... 14 2.5 Zur unübersetzbaren Übersetzung ........................................................ 15 2.6 Äquivalenz und Adäquatheit .................................................................. 18 2.7 Zum Übersetzungsprozess ..................................................................... 20 2.7.1 Voraussetzungen an einen Übersetzer ............................................................ 21 2.7.2 Die Zielgruppenproblematik ............................................................................. 21 3. Audio-visuelle Übersetzungsformen ................................................. 23 3.1 Untertitel ................................................................................................... 24 3.2 Voice-Over ................................................................................................ 26 3.3 Verschiedensprachige Versionen vom selben Film ............................. 26 3.4 Synchronisation ....................................................................................... 27 4. Synchronisationsforschung .............................................................. 29 4.1 Theoretische Vorüberlegungen .............................................................. 29 4.2 Dialogveränderungen .............................................................................. 32 4.3 Synchronübersetzung vs. Synchrontext ............................................... 40 4.4 Synchronität ............................................................................................. 42 4.4.1 Lippensynchronität ........................................................................................... 42 4.4.2 Sprechgeschwindigkeit .................................................................................... 47 4.4.3 Bewegungesynchronität ................................................................................... 47 4.4.4 Referenzsynchronität ....................................................................................... 47 4.5 Stimme, Sprache, Dialekte und Akzente ............................................... 48 4.5.1 Die Stimme ....................................................................................................... 48 4.5.2 Sprache ............................................................................................................ 50 4.5.3 Mehrsprachigkeit .............................................................................................. 52 4.5.4 Dialekte und Akzente ....................................................................................... 53 4.6 Filmtitel ..................................................................................................... 55 4.7 Anglizismen .............................................................................................. 59 5. Ablauf einer Synchronisation ............................................................ 63 5.1 Der Weg zur Synchronübersetzung ....................................................... 63 5.2 Die Arbeit im Studio ................................................................................ 70 6. Synchronisationskritik ....................................................................... 73 6.1 Qualitätsanspruch ................................................................................... 73 6.1.1 Die Frage einer legitimen Bewertungsgrundlage ............................................ 73 6.1.2 Die Frage der Verantwortung .......................................................................... 74 6.1.3 Gute Synchronisation vs. schlechte Synchronisation ..................................... 75 6.1.4 Synchronsprache ............................................................................................ 76 6.1.5 Die Frage nach Unnatürlichkeiten ................................................................... 76 6.2 Linguistische und kulturelle Hürden ...................................................... 77 6.2.1 Zur deutschen Sprache ................................................................................... 77 6.2.2 Die Frage nach qualitativer Lippensynchronität .............................................. 78 6.2.3 Sprichwörter und Redewendungen ................................................................. 79 6.2.4 Humor als kulturelle Hürde .............................................................................. 80 6.2.5 Mehrsprachigkeit, Dialekte und Akzente ......................................................... 81 6.2.6 Allgemeine kulturelle Hürden .......................................................................... 82 6.2.7 Originalversion vs. Synchronfassung .............................................................. 83 6.3 Kritik zum Verfahren der Synchronisation ............................................ 84 6.3.1 Kooperationsfassungen .................................................................................. 85 6.3.2 Die Kostenfrage ............................................................................................... 86 6.3.3 Studioarbeit mit Hindernissen ......................................................................... 88 6.3.4 Die Frage der Anerkennung ............................................................................ 88 6.3.5 Das Vorenthalten von ganzen Episoden einer TV Serie ................................. 89 6.3.6 Die Zensurfrage ............................................................................................... 89 6.3.7 Synchronisation als Neufassung ..................................................................... 90 6.3.8 Die Notwendigkeit einer Rohübersetzung und die Grundprobleme des Dialogbuchs .............................................................................................................. 92 6.3.9 Die Werbepausenproblematik ......................................................................... 93 6.3.10 Kritik zur Kritik ............................................................................................... 94 7. Die Simpsons ...................................................................................... 95 7.1 Geschichte der Simpsons ....................................................................... 95 7.2 Über die Simpsons .................................................................................. 96 7.3 Wer übersetzt die Simpsons? ................................................................. 98 7.4 Der Ruf der Synchronisation der Simpsons ....................................... 100 7.5 Stilmittel der deutschen Synchronisation ........................................... 101 8. Untersuchung der Staffel 17 ............................................................ 103 8.1 Methoden ................................................................................................ 104 8.2 Materialbasis .......................................................................................... 104 8.3 Episodentitel .......................................................................................... 106 8.3.1 Detaillierte Analyse der übersetzten Titeln der Episoden 1-22 ..................... 107 8.3.2 Zusammenfassung ........................................................................................ 121 8.4 Analyse der Tafel-Gags ......................................................................... 122 8.4.1 Detaillierte Analyse der Tafel-Gags der Episoden 1, 11, 15, 16, 20, 21 und 22 ............................................................................................................................... 123 8.4.2 Zusammenfassung ........................................................................................ 125 8.5 Der Vergleich zwischen englischem Original, deutschem Dialogbuch und deutschem Synchrontext .................................................................... 126 8.5.1 Kategorie 1: Dialogbuch und Synchronregie: Combrinck ............................. 126 8.5.2 Kategorie 2: Dialogbuch: Combrinck, Synchronregie: von Stegmann .......... 153 8.5.3 Kategorie 3: Dialogbuch und Synchronregie: von Stegmann ....................... 183 9. Ergebnisse ......................................................................................... 202 9.1 Zur Übersetzung der Episodentitel ...................................................... 202 9.2 Zur Übersetzung der Tafel-Gags .........................................................
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