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Universidade Federal Do Ceará Centro De Humanidades Programa De Pós-Graduação Em Estudos Da Tradução

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Universidade Federal Do Ceará Centro De Humanidades Programa De Pós-Graduação Em Estudos Da Tradução 1 UNIVERSIDADE FEDERAL DO CEARÁ CENTRO DE HUMANIDADES PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS DA TRADUÇÃO IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA FORTALEZA 2020 2 IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA Dissertação apresentada ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal do Ceará, como requisito parcial à obtenção do título de Mestre em Estudos da Tradução. Área de Concentração: Processos de Retextualização. Orientador: Prof. Dr. Rafael Ferreira da Silva. FORTALEZA 2020 3 4 IGOR PEREIRA RIBEIRO DOS SANTOS TRADUÇÃO DE MUSICAIS: O PRINCÍPIO DO PENTATLO DE LOW NA VERSÃO BRASILEIRA DA CANÇÃO BELLE, DO FILME A BELA E A FERA Dissertação apresentada ao Programa de Pós- Graduação em Estudos da Tradução da Universidade Federal do Ceará, como requisito parcial à obtenção do título de Mestre em Estudos da Tradução. Área de Concentração: Processos de Retextualização. Orientador: Prof. Dr. Rafael Ferreira da Silva. Aprovada em: ____/____/____. BANCA EXAMINADORA ______________________________________________________ Prof. Dr. Rafael Ferreira da Silva (Orientador) Universidade Federal do Ceará (UFC) ______________________________________________________ Profa. Dra. Gabriela Frota Reinaldo Universidade Federal do Ceará (UFC) ______________________________________________________ Prof. Dr. Fábio Nunes Assunção Universidade Federal do Ceará (UFC) ______________________________________________________ Profa. Dra. Luciana Nascimento de Almeida Universidade Federal do Rio de Janeiro (UFRJ) 5 AGRADECIMENTOS Primeiramente, agradeço a Deus e minha família, por me darem a dádiva da vida e uma base sólida na qual construí quem eu sou. Aos ex-presidentes Luiz Inácio Lula da Silva e Dilma Vana Rousseff, por suas políticas públicas que permitiram a mim e tantos outros colegas menos favorecidos o acesso à universidade. Agradeço, também, ao meu orientador, Prof. Dr. Rafael Ferreira da Silva, pelo incentivo e pela disposição para tirar qualquer dúvida que eu tivesse; e aos demais professores(as) do Programa de Pós-Graduação em Estudos da Tradução (POET), por me darem um sólido suporte teórico para embasar meus apaixonados discursos sobre o ofício da tradução. Gostaria de deixar um agradecimento muitíssimo especial à versionista Mariana Elisabetsky – que traduziu as músicas do filme aqui analisado – e à atriz Giulia Nadruz – que emprestou sua voz à Bela na versão dublada do filme –, por me cederem parte de seu tempo para responder minhas entrevistas. O input de vocês agregou um valor inestimável a esta dissertação. Agradeço, acima de tudo, aos meus amigos. O processo deste mestrado foi desafiador e árduo, e sem vocês eu não teria passado por esse período extremamente turbulento, tanto na vida acadêmica quanto pessoal. Muito se diz que quanto mais velhos ficamos, menos amigos passamos a ter; mas eu tenho tido a sorte de manter muitas amizades duradouras, com pessoas inesquecíveis para minha formação como ser humano, cada uma à sua bizarra maneira. Dentre eles, gostaria de destacar alguns que estiveram ao meu lado e me apoiaram no dia a dia: Felipe, Sofia, Renatta, Darlene, Kelly, Simone, Andrezza... Essas pessoas me mantiveram relativamente são em períodos obscuros, ao sempre me perguntarem como eu estava – e por estarem genuinamente interessados em ouvir, qualquer que fosse a resposta –, me aconselharem e me lembrarem que eu sou alguém especial, ainda que eu raramente assimile esse fato. Obrigado pelas incontáveis lágrimas e risadas compartilhadas. Por fim, nas palavras da filósofa contemporânea Anitta (2019), “hoje eu queria muito agradecer a mim”. Se eu consegui concluir esta dissertação, foi por pura dedicação. Me custou sangue, suor e lágrimas – dentre os quais só um não é literal –, contudo, pelos picos e vales deste processo, eu saí do outro lado. Me despeço com referências que ficam só para bons entendedores: a vida pode estar chovendo no meu desfile, mas cá estou eu, cantando na chuva. 6 E tem mais Ainda que alguém me oprima Mais ninguém me subestima Eu cansei, ninguém mais me cala. 'Cause I'll breathe When they try to suffocate me Don't you underestimate me 'Cause I know that I won't go speechless. (Ninguém Me Cala [Parte 2] Speechless [Part 2] Do filme musical Aladdin [2019]). 7 RESUMO O campo dos Estudos da Tradução sempre foi mais conhecido por suas pesquisas envolvendo seus propósitos mais imediatos, como a troca de informações entre línguas da forma mais precisa possível. Quando se aproximou das artes, a literatura trouxe questões mais abrangentes, como até que ponto a tradução pode interferir no estilo do “original”, palavra essa controversa entre os estudiosos do fenômeno. Contudo, a tradução se aplica a uma vasta gama de áreas do conhecimento. Dentre elas, uma que é pouco explorada é a tradução de músicas; com a tradução de musicais sendo um nicho ainda mais obscuro no campo. No entanto, como Mekinová (2011) ressalta, os Estudos da Tradução têm passado por um movimento nas últimas décadas em que se percebe um maior número de pesquisas com textos não-canônicos. Esses estudos se preocupam menos com preconizar como uma tradução deve ser feita, e passam a investigar o processo como ele é. Essa investigação se dá através de tradutores profissionais – ou em formação – analisando traduções já disponibilizadas. E entender as escolhas tradutórias – e o processo como um todo – pode se mostrar bastante útil no treinamento de futuros tradutores. Tendo em vista a pouca quantidade de estudos na área de tradução de musicais, esta dissertação tem como propósito investigar quais estratégias foram utilizadas na tradução da canção Belle, parte da trilha sonora da versão de 2017 do filme A Bela e a Fera. A análise se utilizou das categorias que constituem o Princípio do Pentatlo, de Peter Low (2005). Para tanto, a metodologia aqui utilizada se deu na comparação entre o texto fonte – a canção em inglês (Belle) – do live action musical A Bela e a Fera (2017) – e sua respectiva tradução (Bela) para a versão dublada do filme que foi distribuído no Brasil, com direção musical de Nandu Valverde e tradução das músicas de Mariana Elizabetsky. Tivemos como resultado que, ainda que as categorias de cantabilidade, naturalidade e ritmo pareçam ter recebido certa prioridade, ainda há bastante equilíbrio em relação as demais categorias. Palavras-chave: Estudos da tradução; Tradução de Músicas; Tradução de Musicais. 8 ABSTRACT The Translation Studies field has always been mostly known for its research concerning immediate purposes, such as the exchange of information between languages in the most precise way possible. When it started to approach arts, the field’s literature brought broader questions, such as the extent that a translation can interfere with the style of the so called original, which is a controversial word itself among the scholars who study that phenomenon. Nevertheless, translation can be applied to a wide range of areas of knowledge. Among them, one that is scarcely explored is music translation; in the context of musicals as a narrative genre, it is an even more obscure niche in the field. However, as Mekinová (2011) highlights, the Translation Studies area has been undergoing a shift in the past few decades, in which we can see a higher number of researches using noncanonical texts. Such studies as less concerned with prescribing how a text must be translated than studying how that process actually takes place. This type of investigation occurs through professional translators – as well as those who are training to be – analyzing translated works. Moreover, understanding translational choices – and the process as a whole – can be very useful for training future translators. Considering the small amount of studies in the musical translation area, this dissertation has as its goal to investigate what strategies were used in the translation to Brazilian Portuguese of the song Belle, which is part of the soundtrack of the live action version of the movie Beauty and the Beast (2017). In the analysis, we used the categories that constitute the Pentathlon Principle, by Peter Low (2005). In order to do so, the methodology that we used took place through comparison of the source text – the song in English (Belle) – and its respective translation (Bela) for the dubbed version of the movie that was distributed in Brazil, with musical direction by Nandu Valverde and song translation by Mariana Elisabetsky. As a result, we discovered that, even though the categories singability, naturalness and rhythm appear to have been prioritized, the translation was very balanced regarding the other categories. Keywords: Translation Studies; Music Translation; Musical Translation; Pentathlon Principle. 9 LISTA DE ILUSTRAÇÕES Figura 1 – Captura de tela da ferramenta Concord............................................................... 88 Quadro 1 – Exemplo categoria sentido................................................................................. 83 Quadro 2 – Exemplo categoria naturalidade......................................................................... 83 Quadro 3 – Exemplo categoria ritmo.................................................................................... 84 Quadro 4 – Exemplo categoria rima..................................................................................... 84 Quadro 5 – Belle / Bela........................................................................................................
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