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El Debate En Torno Al Canto Traducido

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El Debate En Torno Al Canto Traducido EL DEBATE EN TORNO AL CANTO TRADUCIDO -ANÁLISIS DE CRITERIOS INTERPRETATIVOS Y SU APLICACIÓN PRÁCTICA: Adaptación al castellano de la ópera Il barbiere di Siviglia de G. Paisiello- TESIS DOCTORAL Inscrita en el Departamento de Didáctica de la Expresión Musical y Plástica de la Universidad de Sevilla Rocío de Frutos Domínguez Directores: Dra. Dª. Eva Lainsa de Tomás Dr. D. José Carlos Carmona Sarmiento Sevilla, 2013 A los cuatro Maestros a quienes debo el descubrimiento y disfrute de esta inagotable fuente de felicidad que es la música: Cristóbal Gallego, Alonso Salas, José Carlos Carmona y Lluís Vilamajó. 2 “No digas ‘qué asco’, di que a ti no te gusta”. Jesús de Frutos y Paloma Domínguez, mis padres. 3 4 1. INTRODUCCIÓN – PLANTEAMIENTO .......................................................... 9 1.1. Planteamiento ............................................................................................................................... 9 1.2. Resumen de contenidos .............................................................................................................. 13 1.3. Metodología y orientaciones bibliográficas .............................................................................. 15 1.4. Encuestas de opinión. Consideraciones metodológicas ........................................................... 19 1.4.1. Objetivo ................................................................................................................................... 19 1.4.2. Destinatarios ............................................................................................................................ 19 1.4.3. Formato ................................................................................................................................... 20 1.4.4. Prueba y mejoras ..................................................................................................................... 26 1.4.5. Adaptación a los destinatarios ................................................................................................. 31 1.4.6. Contenido y conclusiones ........................................................................................................ 33 2. PERSPECTIVAS HISTÓRICAS ........................................................................ 34 2.1. Relaciones texto-música ............................................................................................................. 34 2.1.1. Libreto ..................................................................................................................................... 34 2.1.2. Idioma ..................................................................................................................................... 38 2.1.3. Traducción ............................................................................................................................... 42 Primeras soluciones a la barrera lingüística ................................................................................. 43 Las óperas nacionales y el fenómeno Mozart ............................................................................... 44 Tradiciones interpretativas y factores diferenciadores ............................................................... 46 La Segunda Guerra Mundial y el star system ............................................................................... 51 Irrupción de los sobretítulos .......................................................................................................... 53 2.2. El caso de España. El drama nacional ...................................................................................... 56 2.2.1. Albores líricos ......................................................................................................................... 56 2.2.2. Farinelli y el nacimiento del italianismo ................................................................................. 58 2.2.3. Primeras críticas al italianismo, la cuestión del drama lírico nacional .................................... 61 2.2.4. Fracaso de los intentos proteccionistas, apogeo italiano, nacionalismo y nuevas críticas ....... 63 2.2.5. Abandono del proyecto de drama nacional y olvido de la ópera española .............................. 71 2.3. Otras artes audiovisuales ........................................................................................................... 75 3. OPCIONES DE TRADUCCIÓN PARA EL CANTO ...................................... 84 3.1. La ausencia de traducción: Versión original en idioma extranjero ....................................... 84 3.2. Sobretítulos ................................................................................................................................. 90 3.2.1. Origen e implantación ............................................................................................................. 91 3.2.2. Definición y características ..................................................................................................... 91 3.2.3. Función: opiniones sobre sus usos o finalidades ..................................................................... 94 3.2.4. Recepción .............................................................................................................................. 101 Principales argumentos a favor ................................................................................................... 101 Principales argumentos en contra ............................................................................................... 108 3.2.5. Nuevos usos: Sobretítulos Intralingua ................................................................................... 117 3.2.6. Sobretítulos en el Teatro ........................................................................................................ 125 3.3. Canto en idioma no original, traducción cantada o canto traducido ................................... 127 3.3.1. Origen e implantación ........................................................................................................... 127 3.3.2. Definición, terminología y características ............................................................................. 129 5 3.3.3. Función: Opiniones sobre los usos o finalidad de la traducción cantada ............................... 137 3.3.4. Recepción: aceptación y rechazo ........................................................................................... 147 Principales argumentos a favor ................................................................................................... 147 Principales argumentos en contra ............................................................................................... 167 Argumentos neutros ...................................................................................................................... 209 3.4. Otras opciones: Accesibilidad ................................................................................................. 220 3.4.1. Audiointroducción ................................................................................................................. 223 3.4.2. Audiodescripción .................................................................................................................. 223 3.4.3. Audiotítulos ........................................................................................................................... 224 3.4.4. Títulos Braille ....................................................................................................................... 225 3.4.5. Visitas táctiles........................................................................................................................ 225 3.4.6. Interpretación en lengua de signos ........................................................................................ 227 3.4.7. Títulos adaptados ................................................................................................................... 228 3.5. Debates similares en otros géneros y medios: conciertos didácticos; música popular urbana y folclore; teatro hablado y teatro musical; cine y televisión; cine musical ....................................... 230 3.5.1. Conciertos didácticos ............................................................................................................ 230 3.5.2. Música popular urbana y folclore .......................................................................................... 238 3.5.3. Teatro hablado y teatro musical ............................................................................................. 241 3.5.4. Cine y televisión: Doblaje vs subtitulación ........................................................................... 254 Principales argumentos a favor del doblaje ................................................................................ 254 Principales argumentos a favor de la subtitulación ................................................................... 257 3.5.5. Cine musical .......................................................................................................................... 262 4. MODIFICACIÓN DE OTROS PARÁMETROS ESCÉNICOS Y MUSICALES .............................................................................................................. 266 5. PERSPECTIVAS ESTÉTICAS, SOCIOLÓGICAS Y JURÍDICAS ............ 272 5.1. Arte y verdad. Interpretación y autenticidad .......................................................................
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