CHOICES IN DUBBING ANIMATED FILM SOUNDTRACKS FROZEN INTO INDONESIAN
A THESIS
BY
NURUL NISFU SYAHRIY
REG. NO.130705071
DEPARTEMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES
UNIVERSITY OF SUMATERA UTARA
MEDAN 2017
Universitas Sumatera Utara CHOICES IN DUBBING ANIMATED FILM SOUNDTRAKCS FROZEN INTO INDONESIAN
A THESIS
BY
NURUL NISFU SYAHRIY
REG. NO. 130705071
DEPARTEMENT OF ENGLISH
FACULTY OF CULTURAL STUDIES
UNIVERSITY OF SUMATERA UTARA
MEDAN 2017
Universitas Sumatera Utara CHOICES IN DUBBING ANIMATED FILM SOUNDTRACKS FROZEN INTO INDONESIAN
A THESIS
BY
NURUL NISFU SYAHRIY REG. NO.130705071
SUPERVISOR CO-SUPERVISOR
Dr. Drs. Umar Mono Dipl. Trans, M.Hum. Drs. M. Syafi’ie, M.A. NIP. 19600122 198601 1 001 NIP. 19561113 198601 1 001
Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfilment of the requirements for the degree of Sarjana Sastra from Department of English
DEPARTEMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2017
Universitas Sumatera Utara Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination.
Head, Secretary,
Dr. Deliana, M.Hum. Rahmadsyah Rangkuti, M.A. Ph.D
NIP. 19571117 198303 2 002 NIP. 19750209 200812 1 002
Universitas Sumatera Utara Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of
Cultural Studies University of Sumatera Utara, Medan.
The examination is held in Department of English Faculty of Cultural Studies
University of Sumatera Utara on November, 13th 2017
Dean of Faculty of Cultural Studies
University of Sumatera Utara
Dr. Budi Agustono, M.S.
NIP. 19600805 198703 1 001
Board of Examiners
Dr. Deliana, M.Hum. ______
Dr. Drs. Umar Mono, Dipl. Trans. M. Hum. ______
Prof. Dr. Syahron Lubis, M.A. ______
Universitas Sumatera Utara AUTHOR’S DECLARATION
I, NURUL NISFU SYAHRIY, DECLARE THAT I AM THE SOLE AUTHOR
OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT
OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED
ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A
THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER
DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT
DUE ACKNOWLEDGMENTS IN THE MAIN TEXT OF THIS THESIS. THIS
THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER
DEGREE IN ANY TERTIARY EDUCATION.
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Date : November 13th, 2017
Universitas Sumatera Utara COPYRIGHT DECLARATION
NAME : NURUL NISFU SYAHRIY
TITLE OF THESIS : CHOICES IN DUBBING ANIMATED FILM
SOUNDTRACKS FROZEN INTO INDONESIAN
QUALIFICATION : S-1/SARJANA SASTRA
DEPARTMENT : ENGLISH
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Date : November 13th, 2017
Universitas Sumatera Utara ACKNOWLEDGEMENTS
All praise to Allah SWT for the blessing, compassion and health given to me to finish this thesis. Salawat and salam to the Prophet and most noble Messenger,
Muhammad SAW that has brought us from the darkness to the brightness.
My special and deepest gratitude and love are dedicated to my beloved parents Syahrul Aswad and Isminingsih for their love, prayer, support, advices, guidance, attention, and encouragement given to me to finish my education and make stronger to face life.
My sincere gratitude goes to the Head and the Secretary of English
Department, Dr. Deliana, M.Hum and Rahmadsyah Rangkuti, M. A., Ph.D., and all of the lecturers and staff of English Department for the help, facilitites, and opportunities given to me during my study. I would like to express my sincere gratitude to Dr. Drs. Umar Mono, Dipl. Trans. M.Hum., as my supervisor and Drs.
Mohammad Syafi’ie, M.A., as my co-supervisor for their time, knowledge, advices, and kindness throughtout the process of finishing this thesis.
My gratitude are also addressed to all my friends in English Literature 2013.
Huge thanks and love are specially addressed to my beautiful best friends Yunita
Syafitri, Ika Damayani Lubis, Noni Saptawati and Chica Silalahi that always support me throughtout the study until I finish this thesis. Huge thanks also addressed to my friends Dini, Mira, Murni, Jenni, Tarmizi, Tammy, Azalia, Ayu, Anandya, Ridha,
Amsaldi, Santri, and Ori for their help and advices throughtout the process of finishing this thesis.
Universitas Sumatera Utara Moreover, I would like to thank to all my friends of KKN Kebangsaan USU
2016 for their support, love and kindness. Thank you to my group of KKN
Kebangsaan 2016 Desa Cempa for their advice, kindness and memories through the process of KKN Kebangsaan 2016 until I finish this thesis that cannot be forgotten even though distance separates us.
Finally, may this thesis has many adavantages for the readers, may the grace and love of the Almighty Allah SWT be with us all forever.
Medan, November 13th, 2017
NURUL NISFU SYAHRIY
No. Reg. 130705071
Universitas Sumatera Utara ABSTRACT
This study is concerned with choices in song translation entitled Choices in Dubbing Animated Film Soundtrack Frozen into Indonesian. It is conducted in order to find out the strategic choices made by translator or dubber in translating or dubbing the soundtracks and how they make the soundtrack will be singable. It is conducted by using qualitative method. Data source of the study are the transcripts of the dubbed animated film soundtracks Frozen. They are in original (English) and dubbed version (Indonesian) and they were retrieved from YouTube. The data of analysis applies Franzon (2008)’s five choices in song translation and three layers of singability. Thus, the result of the study revealed the choices chosen by the translator or dubber and how the soundtracks are singable. Based on the result of the data analysis, it can be concluded that: 1. The choices that are made as the strategy in dubbing the soundtracks of the animated film are the first choice which is leaving the song untranslated, the second choice which is translating the lyrics without taking the music into account and the fifth choice which is adapting the translation to the original music; the second and the fifth choices are made the most, whereas the first option only made in one of the soundtracks; the choices that are not made are the third choice which is writing new lyrics to the original music with no overt relation to the original lyrics and the fourth choice which is translating the lyrics and adapting the music accordingly; the translator or dubber may also use the fourth option as long as the music are kept the same without modification; it is for the reason that the translator or dubber need to adapt the music of the original version since the display of the animated film cannot be changed. 2. The translator or dubber is making the soundtracks of the animated films are singable by using two of the three layers of singability; the layers that are pursued are prosodic and semantic-reflexive match.
Keywords: Dubbing, Animated Film, Soundtrack, Song Translation, Singability
Universitas Sumatera Utara ABSTRAK
Penelitian ini berkaitan dengan pilihan – pilihan dalam penerjemahan lagu dan berjudul Choices in Dubbing Dubbed Animated Film Soundtrack Frozen into Indonesian. Penelitian ini dilakukan dengan tujuan untuk mengetahui strategi pilihan – pilihan yang dibuat oleh penerjemah atau penyulih suara dalam menerjemahkan atau mensulih suarakan soundtrack dan bagaimana mereka membuat soundtrack tersebut akan dapat dinyanyikan. Penelitian ini dilakukan menggunakan metode kualitatif. Sumber data penelitian ini adalah transkrip dari soundtrak film animasi Frozen yang telah disulih suarakan. Transkrip – transkrip tersebut berupa versi orisinil (Bahasa Ingggris) dan versi yang telah disulih suarakan (Bahasa Indonesia) dan diambil dari YouTube. Analisis data mengaplikasikan lima pilihan dalam penerjemahan lagu dan tiga lapisan singability oleh Franzon (2008). Dengan demikian, hasil dari penelitian menunjukkan pilihan yang dipilih oleh penerjemah atau penyulih suara dan bagaimana soundtrack tersebut dapat dinyanyikan. Berdasarkan hasil penelitian ini, dapat disimpulkan bahwa: 1. Pilihan-pilihan yang ditemukan sebagai strategi dalam menyulih suara soundtrak film animasi tersebut adalah pilihan pertama yaitu membiarkan lagu nya tidak diterjemahkan, pilihan kedua yaitu menerjemahkan lirik-lirik nya, tetapi tidak mempermasalahkan musiknya dan pilihan kelima yaitu mengadaptasikan penerjemahan terhadap musik orisinil; pilihan-pilihan yang paling banyak ditemukan adalah pilihan kedua dan kelima, sedangkan pilihan pertama hanya ditemukan pada salah satu soundtrak; penerjemah atau penyulih suara juga dapat menggunakan pilihan keempat selama musiknya tetap sama tanpa adanya modifikasi; ini dikarenakan penerjemah atau penyulih suara harus mengadaptasikan musik dari versi orisinil, karena visual tidak dapat diubah. 2. Penerjemah atau penyulih suara membuat soundtrack dari film animasi dapat dinyanyikan menggunakan dua dari tiga lapisan singability; lapisan – lapisan yang dipilih adalah lapisan kecocokan prosodic dan semantik-reflesif
Kata Kunci: Dubbing, Film Animasi, Soundtrack, Penerjemahan Lagu, Singability
Universitas Sumatera Utara TABLE OF CONTENTS
AUTHOR’S DECLARATION ...... v COPYRIGHT DECLARATION ...... vi ACKNOWLEDGEMENT ...... vii ABSTRACT ...... ix ABSTRAK ...... x TABLE OF CONTENTS ...... xi CHAPTER I INTRODUCTION 1.1 Background of the Study ...... 1 1.2 Problem of the Study ...... 4 1.3 Objective of the Study ...... 4 1.4 Scope of the Study ...... 5 1.5 Significance of the Study ...... 5 CHAPTER II REVIEW OF LITERATURE 2.1 Dubbing and Subtitling ...... 6 2.2 Dubbing in Indonesia ...... 9 2.3 Translating Song ...... 12 2.4 Choices in Song Translation ...... 13 2.4.1 What are Choices ...... 13 2.4.2 Five Choices in Song Translation ...... 15 2.4.2.1 Leaving the Song Untranslated ...... 15 2.4.2.2 Translating the Lyrics without Taking the Music into .. Account ...... 16 2.4.2.3 Writing New Lyrics to the Original Music ...... 17 2.4.2.4 Adapting the Music to the Translation ...... 18 2.4.2.5 Adapting the Translation to the Music ...... 18 2.4.3 Layers in Singability ...... 19 2.4.3.1 Prosodic Match ...... 21 2.4.3.2 Poetic Match ...... 21 2.4.3.3 Semantic-reflexive Match ...... 22
Universitas Sumatera Utara 2.5. Relevant Studies ...... 22 CHAPTER III METHOD OF RESEARCH 3.1 Data Source ...... 25 3.2 Technique of Data Collection ...... 27 3.3 Technique of Analysis...... 27 CHAPTER IV ANALYSIS AND FINDING 4.1 Analysis of Choices in Song Translation ...... 29 4.1.1 Leaving the Song Untranslated ...... 30 4.1.2 Translating the Lyrics without Taking the Music into ..... Account ...... 30 4.1.3 Writing New Lyrics to the Original Music ...... 37 4.1.4 Adapting the Music to the Translation ...... 39 4.1.5 Adapting the Translation to the Music ...... 39 4.2 Analysis of Layers of Singability ...... 43 4.2.1 Prosodic Match ...... 44 4.2.2 Poetic Match ...... 51 4.2.3 Semantic-reflexive Match ...... 52 4.3 Findings ...... 56 CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion ...... 59 5.2 Suggestion ...... 61 REFERENCES ...... 62 APPENDICES ...... xiii
Universitas Sumatera Utara CHAPTER I
INTRODUCTION
1.1 Background of the Study
Nowadays, animation has become more popular entertainment especially in
Indonesia. It can easily be watched in television or internet. It is either popular among the children or among all ages. For that reason, translator has given options by making available the animations that use non-native language or not in
Indonesian, in subtitle and dub version.
Dubbing is one of audiovisual translation. It is used by some dubbers (the people who do the dubbing) to voice-over the Source Language (SL) into the Target
Language (TL). It is usually used in drama, cartoon, film, and animation. Basically, translators use similar strategy in dubbing the same way as in subtitling. Subtitling can be defined as the rendering in a different language of verbal messages in filmic media, in the shape of one or more lines of written text presented on the screen in sync with the original written message, (Gottlieb 2001b: 87, cited in Munday, 2009).
As summarized and edited by Venuti (2000: 430), there are some difficulties for the translator on subtitling, in translating the data. One of its factors related to which govern the medium or channel in which meaning is to be conveyed.
Then, generally in subtitling there are only 33 or in some cases, they are 40 keyboards spaces per line and no more than two lines on screen. Whereas in dubbing, there has been found difficulty refers to limitation in time when translating the soundtrack of the musical animation.
Universitas Sumatera Utara Soundtrack is a track that carries the sound record or a recording of the musical accompaniment to a movie. Within this analysis, the soundtrack of the animation is a part of the song translation. Song translation according to Franzon
(2008: 376) is “a second version of a source song that allows the song’s essential values of music, lyrics and sung performance to be reproduced in a target language.”
Translator/dubber may have difficulties in translating/dubbing song.
Moreover, translating the song has various ways for various purposes. For that reason, the article by Franzon (2008) was made by the intention as a contribution to such an investigation. It is aimed to survey the broad spectrum of possibilities by recognizing five theoritically-distinct choices a translator faces when comissioned to translate song lyric. Franzon (2008, 373) suggests that a song translator may have five choices in theory that can be used as the strategy in translating/dubbing song.
These choices are: not translating the lyrics, translating the lyrics without taking the music into consideration, writing new lyrics, adapting the music to the translation, and adapting the translation to the music. He also stated that the last three options would produce singable target lyrics that may consist of several layers such as: prosodic, poetic and semantic-reflexive match.
As what has been written above, the translator/dubber may have difficulties in translating/dubbing the song into another language and in this case, Indonesian. It is including the soundtracks that are contained through the musical animated film.
Some reasons of the difficulties are Indonesian language which has longer words and consists of more syllables than English and lip movement of the characters that have to be synchronized. The translator/dubber may choose one of the choices or combine it in order to overcome the difficulties that may appear in the process. So, this study
Universitas Sumatera Utara is aimed to recognize the choices that a translator/dubber faces in translating the soundtracks of the animated film.
For the purpose of this study, which is to analyze choices of song translation in dubbing the soundtrack of animated film, the data that will be chosen has to be from musical animated film. Recently, many animated films have been dubbed into
Indonesian including musical animated film. Even though there were many of them have been published and viewed in the television of Indonesia, the soundtracks that are contained through them have not been dubbed yet. For examples, some of them are Aladdin, Beauty and the Beast, Cinderella, Lion King, Snow White and the Seven
Dwarfs, The Little Mermaid, Dr. Seuss’ The Lorax and many others. Despite of these, the only musical animated films that were dubbed into Indonesian until the year of this thesis is made (2017) are Frozen and Tangled. From those animated film,
Frozen is chosen as the data since it is more popular than Tangled. Its popularity has made people recognize it without hesitation even by hearing the single line of the song. Besides, by hearing the original soundtrack and dub soundtrack of the Frozen, there are many words that are omitted and changed in the dub version. These omissions and changing certainly have several reasons. Through the theory by
Franzon (2008), the lyrics of both versions will be investigated further.
Frozen is a musical animated film, produced by Walt Disney Animation
Studios and released by Walt Disney Picture. Based on many categories, many award nominations and winning had presented to Frozen. It was translated and dubbed into
41 languages, including Indonesian. One of the reasons of the dubbing is the animated film referred to children, so Television Company like RCTI was presented the dub version of the animated film. It is done in order to make the children as the
Universitas Sumatera Utara viewers are able to understand more than the subtitle version. It is also because not every child who watches it can read the subtitle. The animated film was translated/dubbed the soundtracks of Frozen also been dubbed into fandub by many people. Fandub is a fan-made dub or redub of a live action or animmated production.
It is an act of dubbing without receiving official dub. So, using the theory of choices of song translation, it will be revelead what choices that are chosen by the proffesional translator in dubbing the soundtracks.
1.2 Problems of the Study
Based on the explanation above, there are several problems that should be described and explained through this analysis. The problems are:
1. What are the choices made in dubbing the dubbed animated film
soundtracks Frozen?
2. How are the choices made to produce singable lyrics in the dubbed
animated films soundtracks Frozen?
1.3 Objectives of the Study
The objectives of analysis are:
1. To find out choices which are made in dubbing the dubbed animated
film soundtracks Frozen.
2. To find out how are choices made to produce singable lyrics in the
dubbed animated film soundtracks Frozen.
Universitas Sumatera Utara 1.4 Scope of the Study
The study is limited on choices in song translation by Franzon (2008). It is focused on the selected dubbed animated film soundtracks Frozen.
1.5 Significances of the Study
There are two significances of the analysis, theoretical significance and practical significance. Theoretically, the result of the analysis is expected to give information dealing with choices in song translation, especially in dubbed soundtrack translation. Practically, it will be useful as additional reference for the next researchers who are interested to analyze choices in song translation and for the fandubber who tried to dubbing soundtrack of musical film.
Universitas Sumatera Utara CHAPTER II
REVIEW OF LITERATURE
2.1 Dubbing and Subtitling
The best-known and the most widespread forms of audiovisual translation are subtitling and dubbing. Subtitling is visual, involving the superimposition of written text onto the screen. Dubbing, on the other hand, is oral; it is one of a number of translation methods which make the use of acoustic channel in screen translation
(Baker, 2001: 74)
In addition, subtitling can be defined as ‘the rendering in a different language of verbal messages in filmic media, in the shape of one or more lines of written texts presented on the screen in sync with the original written message’,
(Gottlieb 2001b: 87, emphasis added, cited in Munday, 2009). Subtitles firstly called intertitles (firstly seen in 1903 as epic, descriptive titles): it is texts, drawn or printed on paper, filmed and placed between sequences of the film, (Fong & Au, 2009: 3).
Whereas, Luyken (1991: 73, cited in Orero, 2004: 42-43), in an extensive definition, explains the synchronization (lipsync dubbing) as “the replacement of the original speech by a voice-track which is a faithful translation of the original speech and which attempts to reproduce the timing ‘phrasing and lip movements of the original.
In the mean time, dubbing, famously nicknamed traduction totale (Cary,
1960) because of its many challenges, is the other major re-voicing practice. It
Universitas Sumatera Utara involves replacing the original soundtrack containing the actor’s dialogues with a TL recording that reproduce the original messages, ensuring that the TL sounds and the actor’s lip movements are synchronized in such a way that target viewers are led to believe that the actors on screen are actually speaking their languages, (Gambier &
Doorslaer, 2010: 442).
Traditionally, there are four basic steps involved in the process of dubbing a film from start to finish. First, the script is translated; second, it is adapted to sound both natural in the target language and to fit in with the lip movements of the actors on screen; third, the new translated script is recorded by actors; and finally it is mixed into the original recording, (Munday, 2009).
Those who against dubbing stress the negative meaning of ‘double’ such as
‘ambiguous, fake, other than original, phoney, artificial’, (Bossinelli, 1994: 8, cited in Munday, 2009).
On the positive side, a dubbing involves less textual reduction than subtitling, is more professionalized, draws on established methods of post- synchronization, ‘constructs a more homogeneous discourse (it is an oral translation of an oral source text) so that the viewers do not have to divide their attention between the images and the written translation’ (Goris 1993: 71, cited in Baker,
2001: 75).
Fong and Au (2009: 14-15), also state the similar positive side of dubbing that is “dubbing is more popular because subtitles divert the audience’s attention since they have to read written text while watching the pictures. In addition, since
Universitas Sumatera Utara subtitles are condensed versions of the actual dialogue, they are not as vivid and entertaining as dubbing.”
Fawccett (1996: 76, cited in Baker, 2001: 75) points out that in a dubbed film we are constantly aware through the images and non-matching mouth movements of the presence of a foreign language and culture, which suggests that dubbing is a prime instance of overt translation in House’s terms (House 1981). In other words, a dubbed film or a program is always overtly presented and perceived as a translation.
Besides, Dubbing is the type of audiovisual translation that requires the most thorough synchronization. Synchronization (or lip-sync) is one of the key factors at stake in audiovisual translation, particularly in the context of dubbing, because It is often considered as the differentiating feature of this type of translation.
Although in fact, it only represents one important area (together with others such as orality or the interaction between image and word) which is gradually losing the support of both dubbing professionals and audiences, (Orero, 2004: 35).
Fodor (1968, cited in Gambier & Doorsher, 2010: 443) distinguishes three types of synchrony:
- The phonetic synchrony, most widely known as lip sync(hrony), takes care of
fitting the target text into the mouth openings of the on-screen characters,
particularly in instances of close-ups.
- The second type of synchrony is that of the translation with the actors’
movements and gestures, coined as characters synchrony by Fodor (1969),
and relabeled as kinetic synchrony by Whitman-Lineen (1992). The aim here
Universitas Sumatera Utara is to guarantee that the dialogue does not contradict the image and that the
shaking of a head comes accompanied by a negative statement.
- The third and last synchrony is known as isochrony and consists in making
sure that the duration of the translated exchanges is tune with the duration of
the original ones and the utterances can be comfortably fitted between the
moments the actors opens and shut their mouth
Other subtypes of dubbing, such as partial dubbing or narration do not give synchronization the same priority. On the other hand, although isochrony does not carry the same weight in subtitling as in dubbing, the subtitles are synchronized with the speech of the on-screen actor who actually pronounces the words. While synchronization might not always demonstrate the perfect timing, as it is not essential for the subtitle to appear and disappear on screen at exactly the same moment as the actor begins or finishes speaking, in fact, the subtitle does generally coincide with the spoken utterance it represents, (Orero, 2004: 48).
2.2 Dubbing in Indonesia
In Indonesia, dubbing is only used for the programs in television, especially in family movie and all kinds of movies that don’t use Indonesian language or other local languages in Indonesia, as the main language. National TV will not show dubbed film in Indonesian (only give subtitle) in the reality programs and adult movies in English, but cable TV channel like HBO will provide language option in
SL or dubbed language.
In contrast to some other postcolonial states like India, imports now represent a substantial amount of cinematic and televised fare in Indonesia. Although
Universitas Sumatera Utara there is a long tradition of filmmaking in Indonesia, dating back to the early 20th century and, at some points garnering nationwide audiences, in the late 1990s the
Indonesian film industry generally produced only fifteen to twenty films per year, mostly low-budget erotic films that went directly to second-or third-run theaters
(Ryanto 42). By the late 1990s, each of Indonesian’s five private television stations was importing approximately seven thousand shows per year, many of which originated in the United States (Republika 1996), and, beginning in the 1990s, dubbing became an increasingly popular way of presenting these broadcast to
Indonesian audiences (Lindsay, cited in Jurriëns & Kloet, 2007: 59)
It was in the context of this rise in imported television that, in a joint news conference on 4 April 1996, one year after one of Indonesia’s private television stations went national for the first time, Minister of Information, Harnoko and
Minister of Education and Culture, Wardiman Djojonegoro, announced that “foreign films on television should no longer be broadcast in their original language version with Indonesian summaries or subtitles but were to be dubbed into
Indonesian*(Lindsay). This regulation on dubbing (dubbing, sulih suara [to substitute sound]) was to take effect by 16 August, in accordance with a soon-to-be- passed broadcasting law, which included the first set of broadcasting regulations to be issued in eighteen years. This bill, which had been debated in parliament for several months at the point, was to become one of the most contentious legal documents of the New Order’s twilight years (the “New Order” refers to the thirty- year rule of Suharto, Indonesia’s second president, which ended in 1998). The requirement that all programs be dubbed into Indonesian was greeted with little fanfare: as the public relations manager of station TPI noted, many of the programs
Universitas Sumatera Utara imported each year by private television stations were already dubbed in response to viewer demand. Acquiescing to the state’s long standing goal of building nationalism through language planning, the public relations manager of station RCTI added that the requirement was “a good policy that will help build Indonesian skills in society”
(Republika, ibid.: 59)
Although dubbing is already used for such a long time, Ali (341-42, ibid.:.
60) stated that Dubbing can create gasp in family communication. It can ruin the self- image of family members as a result of adopting foreign values that are
“Indonesianized” [diindonesiakan] ... this can cause feelings of becoming “another person” to arise in family members, who are in actually not foreigners ... whenever
Indonesians view television, films, or other broadcasts where the original language has been changed into our national language. Those Indonesians will think that the performance in those media constitute a part of themselves. As if the culture behind those performances is also the culture of our people.
Meanwhile, Ilham Bintang and Edward Depari, public relations staff from television station RCTI, claimed that Indonesians would feel they “possessed” the actions of “closeness,” and that it could “facilitate the transfer of foreign values.”
Majalah Film (July 26-August 8, 1997: 24, cited in Berry, Martin & Yue, 2003: 50).
Universitas Sumatera Utara 2.3 Translating Song
As Blacking (2004: 10, cited in Pérez-Gonzáles, 2014) notes, in music, satisfaction may be derived without absolute agreement about the meaning of the code; that is, the creator’s intention to mean can be offset by a performer’s or listener’s intention to make sense, without any of the absence of communication that would occur if a listener misunderstood a speaker’s intention to mean. In music, it is not essential for listeners or performers to understand the creator’s intended syntax or even the intended meaning, as long as they can find syntax and their own meanings in the music.
According to Low (2016: 2-3), there are three patterns when translating song. One pattern is “word-first”: a musician takes a text by someone else – a text deemed good or promising or sacred- and “sets it” to music, creating a melody inspired by its mood, rhythm and meaning. Another pattern is “music-first”, where a promising melody is the partial information for the lyric. Then, the third pattern: a singer-songwriter develops the music and the lyric in tandem, zigzagging from one to the other. During the process both words and melody can be very fluid, until they come together.
Based on Franzon (2008: 374-375), until quite recently, the translation of songs did not attract much attention within translation studies; one reason might be lack of clarity as to the professional identity of the people who do translate songs.
Nevertheless, the fact that songs are translated in various ways, for various purposes, and by a variety of mediators should warrant some focused investigation within the discipline. In translating song, if the purpose is simply to understand a foreign song’s
Universitas Sumatera Utara lyrics, a semantically close, prose translation will do. But if a song is to be performed in another language, the assignment calls for a ‘singable’ target text. For Lerner
(1977, cited in ibid.: 375), unsingable mean unperformable – just as categorically as theatre practitioners may prefer a ‘performable’ translation of a play to a ‘literary’ one. In Lerner’s care, the melody seemed to have called for an unrhymed poetic form.
2.4 Choices in Song Translation
Choices in song translation by Franzon (2008) become main theory of this analysis. By using them, the data will be analysed further to find out what choices made by the translator/dubber of the animated film Frozen. Before moving to the explanation of these choices, the brief description of choices is given.
2.4.1What is choice?
Choices in song translation are an approach that allows the translator to provide a systematic overview of the ways in which songs can be translated for particular purposes, as well as a functional account of how a lyric can be made to match the existing music. The choices are also functioned to avoid a categorical spilt between the optimal and the imperfect (or approximate). Then, a song might be recognized as a translation if it is a second version of a source song that allows some essential values of the source’s music and/or its lyrics and/or its sung performance to be reproduced in a target language, (Franzon, 2008: 376).
In addition, these choices are theoretically available to sung translation, however in real terms, different strategies may be combined and individual translator
Universitas Sumatera Utara may pursue a particular goal-prosody, poetry and musical sense, or naturalness, phonetic suitability, rhyme or verbal fidelity more or less vigorously. Next, in terms of choosing among the various options available for translating a song as (part of) a source text, some points may become consideration:
- Will the target performers and audience be interested in the music, the
original lyrics, or the combined musico-verbal effect of a sung performance?
- Are the original lyrics to be kept, perhaps to give an impression of
authenticity?
- Is the translation intended for singing in the first place?
- Is the music to be presented as originally written or can it be modified?
- Which words or aspects of the lyrics are contextually (i.e., dramatically,
musically, visually) most vital?
- Can the musico-verbal properties of the original song be recreated for the
target presentation?
- If the aim is to create a sung performance, how can we combine the three
layers (prosodic, poetic and semantic reflexive match), and is a fully
functional target ‘singing song’ likely to have to consider all three layers of
match?
These and similar questions all guide the concrete choices made by individual translators in specific contexts out of the myriad of theoretical options available to them, (ibid.: 396-397).
Universitas Sumatera Utara 2.4.2 Five Choices in Song Translation
Franzon (ibid.: 376) stated “a song can be defined as a piece of music and lyrics – in which one has been adapted to the other, or both to one another – designed for a singing performance.” He also stated that song translation is a second version of a source song that allows the song’s essential values of music, lyrics and sung performances to be reproduced in a target language. In order to reproduce a song from the SL to the TL, the translator is given with a number of choices, including an even more basic and initial one (ibid.: 376-389) :
2.4.2.1 Leaving the Song Untranslated
The example that is given is when the English-language musical Mamma
Mia! (1999), based on songs by Swedish songwriters Benny Andersson and Björn
Ulvaeus, was to be produced in Sweden in 2005, the initial plan was, once again, to leave the songs in English; after all, most of them were originally written in that language and were known worldwide in their original versions. Then the producers decided that the integrity of the story demanded that the lyrics be in the same language as the dialogue. Thus several famous ABBA songs were given their very first Swedish lyrics after more than twenty years.
The reason for non translation in the case above may have to do with the assumption that the lyrics are not that relevant to the rest of the narrative (for, example, songs sung on the soundtrack as part of the background music in films are regularly not subtitled), or that retaining the original lyrics enhances authenticity.
Another example is from a famous boy band from South Korea who published a song with two different versions. The versions are Korean and Chinese
Universitas Sumatera Utara version. Both of them have the same music but different lyrics except for several parts.
Chinese version
Wo eureurong eureurong eureurong ni I growl growl growl at you Wo eureurong eureurong eureurong ni I growl growl growl at you Wo eureurong eureurong eureurong ni I growl growl growl at you Ruguo zaibu likai jiu hui you weiji If you don’t leave soon, there’ll be a crisis
Korean version
Na eureureong eureureong eureureong dae I growl, growl, growl Na eureureong eureureong eureureong dae I growl, growl, growl Na eureureong eureureong eureureong dae I growl, growl, growl Neo mulleoseoji anheumyeon If you don’t get away Dachyeodo molla You might get hurt
The word eureureong which mean growl is not transferred into Chinese for some reason. One of the reasons may because the word eureureong is the title of the song that becomes the main point of the song. So the producer was leaving the lyric the same even though the language is different. The example above is the example of how the lyric of is leaving untranslated.
2.4.2.2 Translating the Lyrics Without Taking the Music into Account
A translator may translate the lyrics as if they were just another (piece of the) source text, especially when the readers/listeners are assumed to be aware of their original song and its musical form. The musico-poetic qualities – the repetition and onomatopoeia (yodelling) for example – are not and need not be transferred, as they are readily available for the enjoyment of the audience in their original form.
Like option one, option two may also need to rely on the reader/listener being aware of the existence of the original song, since the target text does little or nothing to reflect its musical form.
Universitas Sumatera Utara An example was given from the film musical The Sound of Music (ibid.:
379).
English source text Swedish subtitled 1 High on a hill was a lonely goatherd Uppe på berget gick getaherden Lay ee odl lay ee odl lay hee hoo Loud was the voice of the lonely Han joddlade högt vår getaherde goatherd Lay ee odl lay ee odl-oo Folks in a town that was quite remote Flket i staden som låg långt bort heard Lay ee odl ee odl lay hee hoo Lusty and clear from the goathered’s Hörde tydligt hur herden joddla’ throat heard Lay ee odl ee odl lay hee hoo ...
As seen from the example above, the repetition of onomatopoeia (yodelling) is not transferred in the subtitle. So, the viewers do not need to read any subtitle related to the onomatopoeia part, but listen to the audio only.
2.4.2.3 Writing New Lyrics to the Original Music
Conversely, a rewriter in a target language could also take the music into account much more than the lyrics. This would be the case when the music is the most important part of the package. Not translation proper in the linguistic sense, this is nevertheless a translational action: a result of importation and marketing of musico-verbal material between languages and cultures. This option is probably most widespread in certain genres within popular music, where songs have been bought and sold like commodities to be fitted to and marketed by domestic artist.
A totally rewritten set of lyrics in a target language may contain only a single word, phrase, image or dramatic element taken from the source lyrics. Also, the original lyrics (and singing performance) may influence the translator’s
Universitas Sumatera Utara impression of the melody, and thus the production of the new lyrics. If the new lyrics allow the song, as a cultural artifact, to cross linguistic borders, the practice can be seen as translational action.
2.4.2.4 Adapting the Music to the Translation
Translating the lyrics and adapting the music accordingly – sometimes to the extent that a brand new composition is deemed necessary.
If, the other hand, the lyrics are deemed to be more important than the music, and the song is still to be sung, the music may be changed. In general, a line- by-line translation of lyrics rarely resembles a song, but sometimes a fairly close, if partial, approximation may be achieved by slightly modifying the melody.
2.4.2.5 Adapting the Translation to the Music
This option may be seen as more common case of singable song translation.
If the music must be performed as originally scored, as in stage musicals or operas, it must be the translator who modifies the verbal rendering, by approximating more loosely, by paraphrasing or by deleting from and adding to the content of the source lyrics.
An assessment of the fidelity of a singable translation should be based not so much on word-by-word comparison, but on contextual appropriateness. A singable translation must fit the music and the situation in which it will be performed, even while trying to approximate the source text as much as necessary or possible.
The option of adapting a translation to music, while allowing for some deviation in sense, may apply to many cases of song translation. When songs appear
Universitas Sumatera Utara in a film that is to be dubbed, neither the music nor the (visual) performance can possibly be changed; contextual appropriateness would also include the lip movement with which the target text must be synchronized.
The conclusion, once again, is that function and performance are of primary importance for singable song translation and that respect for the original lyrics must be shown, or assessed, contextually: in relation to both music and intended function.
Whereas, in practice some of the options that have been nentioned may be combined.
2.4.3 Three Layers of Singability
Based on choices of song translation by Franzon (2008) that have been mentioned before, the last three options would produce singable target lyrics. Then, when the main purpose of the translational action is to deliver a singable translation, there are certain aspects of the musico-textual fit which seem to require particular attention and which lead to further choice. Thus, may lead to the functional consequences of the match that are shown in Table 1.
Universitas Sumatera Utara A singable lyric by observing the which may appear in the achieves music’s text as 1. a prosodic match melody: music as syllable count; rhythm; notated, producing intonation, stress; sounds lyrics that are for easy singing comprehensible and sound natural when sung 2. a poetic match structure: music as rhyme; segmentation of performed, producing phrases/lines/stanzas; lyrics that attract the parallelism and contrast; audience’ attention and location of key words achieve poetic effect 3. a semantic- expression: music the story told, mood reflexive match perceived as conveyed, character(s) meaningful, producing expressed; description lyrics that reflect or (word-painting); explain what the music metaphor ‘says’ Table 1. Functional Consequences of Match between Lyrics and Music (ibid.:390)
Universitas Sumatera Utara 2.4.3.1 Prosodic Match
The first match is the prosodic match. For that, the example from Siitonen
(2014: 45) is quoted. In one of the songs, Rock ‘n’ Roll Kids - Rokkarit that become the analysis, a figure that show the number of syllables of the first verse is given:
I remember ‘62 7 Oli vuosi kuuskyttkaks 7 I was sixteen and so were you 8 Oltiin kuustoists molemmat 8 And we lived next door 5 Naapureina me 5 on the avenue 5 silloin asuttin 5 Jerry Lee was big and Elvis too 9 Oli Elvis ja Jerry Lee 8 Blue jeans and blue suede shoes 6 oli farkut ja brylkneemii 8 And we never knew 5 Ja me surtu ei 5 What life held in stove 5 mitää tulevaa 5 The figures in parentheses show the number of syllables in each line
The example above shows that the translator matches the lyric prosodically by following the syllabic count of the original lyrics. The probable reason why the translator has been able to keep the syllabic counts almost identical is the slow tempo of the song and the low number of words.
2.4.3.2 Poetic Match
Next, the second match is the poetic match. Sapoetra (2016: 7-8) gives example of ryhmed translation. It is related to the one of the points that shows the poetic match between the original and target versions. The example is the Indonesian version of “Happy Birthday” song. The Indonesian version and the original one have the same rhyme. The rhymed scheme from both of them is a a b a. It is showed by the example below:
Happy birthday to you (a) Selamat ulang tahun (a) Happy birthday to you (a) Selamat ulang tahun (a) Happy birthday, Happy birthday (b) Selamat ulang tahun (name) (b) Happy birthday to you (a) Selamat ulang tahun (a)
Universitas Sumatera Utara 2.4.3.3 Semantic-reflexive Match
Lastly, the match that may be pursued is the semantic-reflexive match.
Franzon (2008: 391) stated that the principle may equally apply to a general likeness, such as the notion that happy lyrics should be accompanied by joyful music, or to instances where words reflect or feed on a musical movement and what if appears to express.
2.5 Relevant Studies
Some related theses on translation are reviewed to support the analysis such as:
Maryati (2016) conducted a study entitled “Translation Method and
Meaning Equivalence in the Song Lyric Let it Go Sung by Demi Lovato and
Lepaskan Sung by the Artists”. The aims of the study is to find out the types of translation methods that are used; to know how the meaning equivalence; and to analyze the types of meaning equivalence between the song lyric Let it Go and the song lyric Lepaskan. The theory that is used is based on Peter Newmark’s theory of translation. The finding shows that Peter Newmark’s theory can describe how the trnaslation methods classifying the selected data; the meaning equivalence to achieve the purpose of tranlation consist of dinamic and formal equivalence; and all types of the translation methods are used except semantic translation, free translation, and idiomatic translation.
Mekinová (2011) conducted a study entitled “Options and Choices in
Musical Film Lyrics Translation”. The aim of the thesis is to explore a particular section of audiovisual translation from the functional perspective-musical song lyrics
Universitas Sumatera Utara subtitles; taking into consideration the latest developments in song lyrics translation and contemporary tendencies in subtitling. The theory that is used is based on
Franzon (2008) which explores singability in print, subtitles and sung performance.
The study revelead that different combinations of choices were made; however, both translation serve their purpose by achieving some level of singabilty.
Sangroj (2009) conducted a study entitled “Strategies and Quality:
Translation of Song Lyrics from English to Thai”. The study aimed to analyze 18 song lyrics translated by Varin Rungchatupat, Neungdeaw and Jitsommanas Siwadit and others from English into Thai within two theoretical frameworks: the seven standards of textuality proposed by de Beaugrande and Dressler (1981). This study revelead that two translation strategies that were found from both theoretical frameworks, are literal translation and interpretation.
Sapoetra (2016) conducted a study entitled “Translation Strategies in the
Rendetion of the Amazing Grace Song into Indonesian”. The purpose of the research is to analyze the translation strategies in the rendition of Amazing Grace’ song into
Indonesian. The theory that is used is based on Levefere (1975) about seven strategies in translating poetry that are phonemic translation, literal translation, metrical translation, verse to prose translation, rhymed translation, blank/free translation, and interpretation. The result is revealed that it is better to use translation strategies of poetry, because song lyric is also kind of poem that has a few important aspects that really need to pay attention. For transferring the meaning between the SL and TL, interpretation is the strategy that the translator used when translating the song lyrics.
Universitas Sumatera Utara Siitonen (2014) conducted a study entitled “Subtitling the Songs in the
Eurovision Song Contest”. The theory that is used is based on Peter Low’s (2005)
Pentathlon Approach that includes five different criteria that are: sense, naturalness, rhythm, and rhyme. Based on the theory, the study is aimed to examine which of the criteria have been prioritized over others. The study revelead that sense is the criterion that has been followed the most in the subtitles, which would support the presumption that retaining meaning is the main skopos in translating the songs in the contest. Therefore, it also revelead that rhythm is the criterion that has been sacrificed the most in the subtitles.
Some of the theses that have been mentioned before gave bigger contribution for this thesis; meanwhile some others gave less contribution. Mekinová
(2011)’s thesis gave the biggest contribution because it deals with the same theory as this thesis which is Franzon (2008)’s about three layers of singability. Next, Sapoetra
(2016)’s thesis gave contribution related to one of the layers of singability which is prosodic match. Then, Siitonen (2014)’s thesis also gave contribution related to the points of the first and second layers of singability that are rhythm and rhyme. The three of them are helpful to answer the second answer of the analysis in this thesis.
Besides, the rest of the theses above also gave contribution dealing with song translation.
Universitas Sumatera Utara CHAPTER III
METHOD OF RESEARCH
In order to finish this thesis, the research that is used is library research.
Conforming to Zed (2004: 3), library research is a series of activities which is related to library data collecting method, reading, and recording and processing data research. Library research is used since the researcher uses some books and any other references related to the topic of the analysis and the subject matter. Based on
Kuhltahu (2002: 1-171), there are several section in doing library research such as, initiating a research assigment; selecting a topic; exploring information; forming a focus; collecting information; preparing to present; and assessting the process.
3.1 Data Source
The data of this research are the transcripts of the dubbed animated film soundtracks Frozen. The transcripts are in the original version (English) and dub version (Indonesian) are included and becomes the data of the research. The data consists of nine soundtracks of Frozen. They are obtained by retrieving from
YouTube since the soundtracks of the animated film are cut and uploaded by some people through it. All of the soundtracks in this thesis are introduced, including the name and length of the soundtrack and the name of the dubber.
Universitas Sumatera Utara Table 2. List of Frozen’s Soundtrack Song title / Dubber No. Duration Original Version (English) Dub Version (Indonesian) 1. Frozen Heart Hati Beku 01:46 Dubber: Adrian Warrouw, Iwan Dahlan, Muchus Gober, Agus Tunggono, Paradhito, Hermano Herjaya, Solihin Sukabumi 2. Do You Want to Build a Yuk Buat Boneka Salju 03:17 Snowman Dubber: Mikha Sherly Dubber: Kristen Bell, Agatha Marpaung LeeMonn, Katie Lopez 3./ For the First Time in Forever / Untuk Pertama Kalinya 02:05/ 4. For the First Time in Forever Untuk Pertama Kalinya 02.03 (Reprise) (Reprise) Dubber: Kristen Bell, Idina Dubber: Nadia Rosyada, Menzel Mikha Sherly Marpaung 5. Love is an Open Door Cinta Buka Semua 01:47 Dubber: Kristen Bell, Santino Dubber: Mikha Sherly Fontana Marpaung, Nur Kamal Nasution 6. Let it Go Lepaskan 03:37 Dubber: Idina Menzel Dubber: Nadia Rosyada 7. Reindeers are Better than Rusa Lebih Baik dari 00:41 People Manusia Dubber: Jonathan Groff Dubber: Ary Wibowo 8. In Summer Di Musim Panas 01:59 Dubber: Josh Gad Dubber: Adrian Warouw 9. Fixer Upper Diperbaiki 02:54 Dubber: Maia Wilson Dubber: Tety Najib, Merlinda Endah,Setyowati A, Adrian Warouw, Iwan Dahlan, Miranti, Esti Rahmiati, May Hartati, Guritno, Hermano Herjay, Paradhito
Universitas Sumatera Utara 3.2 Technique of Data Collection
In doing the research, there are several procedures, as follows:
a. Collecting data of the analysis that are the transcripts of the soundtracks
from the dubbed animated film Frozen in TL (Indonesian version).
b. Collecting the transcripts of the soundtracks from the dubbed animation
film Frozen in SL (English) or the original version.
3.3 Technique of Analysis
This research is qualitative research. According to Hermawan (2005: 20), qualitative research is a research that uses more subjective quality including review and revealing based on perception to obtain the understanding toward social phenomena and humanity. Elliot, Fischer and Rennie (1999: 215, cited in Goodman,
2011: 9) offer this definition:
The aim of qualitative research is to understand and represent the experiences and actions of people as they encounter, engage, and live through situations. In qualitative research, the researcher attempts to develop understandings of the phenomena under study, based as much as possible on the perspective of those being studied. Qualitative researchs accept that it is impossible to set aside one’s own perspective totally (and do not claim to). Nevertheless, they believe that their self-reactive attempts to “bracket” existing theory and their own values allow them to understand and represent their informants’ experiences and actions more adequately than would be otherwise possible. The method that is used to analyze the data is descriptive method. Based on
Abdullah (2015: 220), descriptive method is aimed to describe something that occurs at the time of the research.
Based on the problem of the study, there are several steps in analyzing the data, as follows:
Universitas Sumatera Utara a. Identifying the choices that are chosen by the translator/dubber in
dubbing the soundtracks of the dubbed animation films. b. Identifying the layers of singability that are chosen by translator/dubber
in dubbing the soundstracks of the dubbed animated films. c. Describing the finding.
Universitas Sumatera Utara CHAPTER IV
ANALYSIS AND FINDING
4.1 Analysis of Choices in Song Translation
In this chapter, all of the soundtracks of the animated films Frozen are identified and analyzed together. Hence, the finding is divided into two parts. The main parts are the choice in song translation that is chosen by the translator/dubber in dubbing the animated film soundtracks. The other part is about layers of singability which are chosen by the translator/dubber in order to make the song singable.
In agreement with Franzon (2008: 376), there are five choices in song translation. Translator/dubber may choose one of the options when translating or may combine some of the options. Franzon (ibid.: 377) also added the following quote related to how the translator/dubber choose the options:
If the translator/rewriter decides to go ahead with the task, he or she may choose to give priority to either the words (option two) or the music (option three), or to show a compromised fidelity to both, for the sake of a prospective performance (options four and five). Needless to say, these options are only of these options is possible or that some of them may be combined. From the information above, further explanation about which options that was/were chosen by the translator/dubber in dubbing the soundtracks of the dubbed animated films Frozen will be given as follow:
Universitas Sumatera Utara 4.1.1 Leaving the Song Untranslated
The translator/dubber from the animated film Frozen chose to use this strategy only in one soundtrack among all of them. The soundtrack entitled In
Summer (English or original version) and it was translated into Di Musim Panas
(Indonesian or dub version). This song is about one of the characters named Olaf who dream about summer time. Olaf is a snowman created by Elsa. He never knows how summer is, so he sings about what he will do in summer.
The first option which is leaving the song untranslated is made when the translator tries to keep the original form of the song. Since, it is for dubbing, the original song has to be re-voiced by the dub actor without changing its form, because it will distract the enjoyment of the viewer, if the voice of the dubber changes in the middle of the song. For instance, the example 1 is given:
Example 1
Da da, da doo, ah bah bah bah bah bah Da da, da doo, ah bah bah bah bah bah boo boo Ratdadat dad dada doo Ratdadat dad dada doo
4.1.2 Translating the lyrics but not taking the music into consideration
Option two is similar to option one, which is used because the translator still taking the original version into consideration. In this case, the translator/dubber of both animated films may choose this option only in the part of translating the lyrics but still taking the music into consideration.
Universitas Sumatera Utara After observing and analyzing all of the soundtracks that become the analysis, this option is found in parts of all of them. To illustrate the example 2 is given.
Example 2 1 Born of cold and winter air and Lahir dengan kekuatan musim mountain rain combining dingin yang besar 2 This icy force both foul and fair Kekuatan dingin kuat 3 Has a frozen heart worth mining Dengan hati beku yang berharga 4 So cut through the heart, cold and Hati yang dulu bersih terluka clear, 5 strike for love and strike for fear Demi cinta dan rasa takut 6 See the beauty, sharp and sheer Hati bersih menawan 7 Split the ice apart Seperti membelah es 8 And break the frozen heart Luluhkan hati beku 9 Hyup! Ho! Watch your step! Let it Hap! Hap! Awaslah! Lepaskan! go! 10 Hyup! Ho! Watch your step! Let it Hap! Hap! Awaslah! Lepaskan! go! 11 Beautiful! Powerful! cantik dan kuat 12 Dangerous! Berbahaya 13 Cold! Dingin 14 Ice has a magic, can't be controlled Es bagai sihir tak terkendali 15 Stronger than one, stronger than ten Lebih kuat, dari satu 16 Stronger than a hundred men! Hyup! Bagai seratus pria! Hap! 17 This icy force both foul and fair Kekuatan dingin kuat 18 Has a frozen heart worth mining Dengan hati beku yang berharga 19 Cut through the heart, cold and clear, Hati yang dulu bersih terluka demi 20 strike for love and strike for fear Demi cinta dan rasa takut 21 There’s beauty and there’s danger Indah tapi berbahaya here 22 Split the ice apart Seperti membelah es 23 Beware the frozen heart Awas hati membeku
The soundtrack above is the opening of the animated film which entitled
Frozen Heart (English version) or Hati Beku (Indonesian version). It was sung by a group of men while they were cutting ice for sale.
Next, in transferring the SL into TL, the translator/dubber was translating several lines of the song literally. There are eleven lines in total that were translated
Universitas Sumatera Utara into dub language literally. It can be seen from lines 3, 6, 8, 9, 10, 11, 12, 13, 18, 22,
23. Even the repetitions of onomatopoeia (yodeling) from the lines 7, 8, and 15 were transferred into Indonesian version. The words Hyup! Ho! were transferred into
Indonesian becoming Hap! Hap!, so they are easier to be pronounced and heard by
Indonesian listeners.
The second song that is found using this option is entitled Do You Want to
Build a Snowman (English or original version) or Yuk, Buat Boneka Salju
(Indonesian or dub version). It is a song that sung by one of the main characters of the animated film. It tells about a younger sister who asked her older sister, Elsa to build a snowman. It is identified as a narrative song. It is because the content of the song that has story of Anna who play alone from time to time until she grew bigger.
In consonance with Low (2016), narrative song is identified with the story that is carried by the words and dialogue songs is identified with music that can aid a message but not state one characters. It can be observed from the example 3 below:
Example 3
Anna: Elsa? Do you wanna build a Anna: Elsa? Yuk, buat boneka salju, snowman? Come on lets go and play Mainlah denganku I never see you anymore, 'Ku tak pernah melihatmu, come out the door It's like you've gone Keluarlah, berhenti menghilang away We used to be best buddies and now Dulu kita bersama, kini beda! were not I wish you would tell me why Jelaskanlah mengapa Do you wanna build a snowman? Yuk, buat boneka salju, It doesn't have to be a snowman Atau mau main yang lain Elsa: Go away Anna Elsa: Pergilah anna Anna: Okayy bye... Anna: Baiklah... Do you wanna build a snowman? Yuk, Buat boneka salju Or ride our bike around the halls? Atau bermain sepeda
Universitas Sumatera Utara I think some company is overdue 'ku rasa 'ku perlu seorang teman I've started talking to the pictures on the 'ku mulai bicara pada lukisan dinding walls Hang in there Joan Tetaplah disitu Joan! It's gets a little lonely, all these empty Sepinya hidup ini, aku tanpamu rooms Just watching the hours tick by *tick hanya menghitung waktu *tik tok, tik tock tick tock, tick tock, tick tock* tok, tik tok, tik, tok* Elsa? Elsa? Please, I know you're in there 'ku tahu kau di dalam People are asking where you've been Semua Mencarimu They say have courage and I'm trying to 'Ku coba menguatkan diriku I'm right out here for you, just let me in 'Ku ada disini! biar 'ku masuk We only have each other, it's just you Hanya kita berdua, kau dan aku and me What are we gonna do? Harus bagaimana Do you wanna build a snowman? Yuk, Buat boneka salju
Translating/dubbing both narrative songs and dialogue songs need to be identical as the original song, since the song is carried by the story told and plot of the story. Changing the content of the song and writing a new one is not a suitable action.
The third song that is found using this option is entitled For the First Time in Forever (English or original version) or Untuk Pertama Kalinya (Indonesian or dub version). The song is about the opening of the gate of their palace for the first time since a long time. In the story, the gate was closed due to the secret of Elsa who has power to freeze everything. For the reason that she was not ready to control her power, her parents decided to close the gate for the public. Only several servants who stayed in the palace to took care of them and the palace.
After the death of Elsa and Anna’s parents, Elsa was crowned as the new queen of Arendelle. So, after a long time, the gate was opened to celebrate the
Universitas Sumatera Utara coronation of Elsa. For that reason, Anna was so happy and expressed her feeling by singing about what will happen if the gate is opened.
Among the five of choices, the choices that are found in dubbing the song are the second and the fifth options. It is observed by the music that does not changed and the lyrics that are transferred into the TL.
Next, the fourth song that is found using this option is entitled Love is an
Open Door (English or original version) or Cinta Buka Semua (Indonesian or dub version). This song is a love song about Anna and Prince Hans who met in the party and found several similarities between them. Both Anna and Hans sung this song together happily as they were destined to be together. In the end of the song, Hans propose Anna to marry him and Anna agree to it.
By observing the lyrics of both versions, it can be said that the translator had translated the original into the TL without changing the lyric into another meaning that does not related to the topic of the song and the music of the original song.
Afterward, the next song that is found using this option is entitled Let It Go
(English or original version) or Lepaskan (Indonesian or dub version). This song is about one of the main characters named Elsa who cannot hold her power anymore.
After a long time she make it a secret from her people even her sister, the power to freeze everything was found out. Then she ran away and made her own castle, so she can be free.
Universitas Sumatera Utara After observing the lyrics of both versions, the options that are found are the second and fifth options. It is for the reason that there is no line that is not translated and no line that has no relation to the topic of the song.
Next, the sixth song that is found using this option is entitled Reindeers are better than People (English or original version) or Rusa Lebih Baik dari Manusia
(Indonesian or dub version). This song was sung by one of the characters named
Kristoff. He sung it after he was shoo away by the shop keeper. He sung it to picture how reindeer is better than people as people will beat, curse or cheat him and how his reindeer smells better than any other reindeer as it is his buddy.
Similar as the previous songs, the second choice is found because the translator seems to use the same strategy as before which is translating the lyric without changing the original music.
After that the next song that is found using this choice is entitled In Summer
(English or original version) or Di Musim Panas (Indonesias or dub version). It is a song sung by a living snowman that was created by Elsa. He sung it in order to describe what is going to happen in summer, since he never experienced it before.
Even though part of this song is made using the first choice, the second choice also found in many lines of the song. It is for the reason that many of the lines are transferred into the TL literally without changing the music and meaning of the original song.
Subsequently, the eighth song that is found using this choice is entitled For the First Time in Forever (Reprise) (English or original version) or Untuk Pertama
Universitas Sumatera Utara Kalinya (Reprise) (Indonesian or dub version). This song is a repeated version of the second song in the animated film. It was sung by Anna and Elsa. This song is about
Anna who persuades her sister to come back to the Arendelles and fix the problem that appears there. Besides, Anna also asked Elsa to unfreeze the city as it was frozen by her accidentally.
The second song of the animated film is identified as narrative song. On the other side, this song is identified as dialogue song. A dialogue song is identified with music that can aid a message but not state one character. It is showed when two or more people are making a dialogue to one another. It is obviously seen from the example below that the character of Anna and Elsa are having a conversation about
Arendelle.
Example 4
Elsa: Anna, Please go back home, your life Elsa: Anna, pulang saja, hidup awaits menunggu Go enjoy the sun and open up the gates Nikmati mentari dan buka gerbangnya Anna: Yeah, but - Anna: Ya, tapi... Elsa: I know Elsa: Aku tahu! You mean well, but leave me be Tinggalkan 'ku sendiri Aku sendiri tapi Yes, I'm alone, but I'm alone and free aku bebas Just stay away and you'll be safe from me Menjauhlah maka kau 'kan aman Anna: Actually we're not Anna: Kita tak aman Elsa: What do you mean you're not? Elsa: Apa maksudmu? Anna: I get the feeling you don't know Anna: 'Ku merasa kau tak tahu Elsa: What do I not know? Elsa: Tak tahu apa? Anna: Arendelle's in deep, deep, deep, Anna: Arendelle terkubur di salju deep snow Elsa: What?! Elsa: Apa? Anna: You've kind of set off an eternal Anna: Kau membuat musim dingin winter.. everywhere abadi di semua tempat, di mana-mana Elsa: Everywhere? Elsa: Di mana-mana?
As shown by the example above, if the translator/dubber chose to make new lyrics, then it may change the story of the song that has to be told to the viewers and
Universitas Sumatera Utara also change the storyline of the animated film. So, the third choice obviously not found as it is used by writing new lyrics that has no relation to the original version.
The last song that is found using this choice is entitled Fixer Upper (English or original version) or Diperbaiki (Indonesian or dub version). It is a song sung by a group of trolls. One of the trolls was the one who cured Anna and erased her memories of Elsa’s power. Besides, they were also Kristoff friends and family. This song is about Kristoff who need to be fixed as he had many issues and also about
Anna who need to be fixed as she was going to marry another man. The trolls sung it in order to persuade Anna so she can marry Kristoff.
In the lyrics, it is compiled of a dialogue with and without music. So, the viewers may listen when the dubber talk casually and talk in melody. Just like the previous song, several parts of the song are transferred literally without changing the music and meaning of the original song.
As what have been informed before, option two will be used if the translator chose to give priority to the words. In this case, both words and music need to be prioritized. By and large, this option was chosen by the translator/dubber in dubbing all of the soundtracks of the dubbed animated films Frozen.
4.1.3 Writing new lyrics to the original music
The third option obviously was not chosen by the translator/dubber in dubbing the animated films, including the soundtracks of it. The third option seems not suitable to be done. One of the reasons why this option is not taken into
Universitas Sumatera Utara consideration is because most of the soundtracks belong to narrative song and some others belong to dialogue songs.
Example 5
Kristoff: Reindeers are better than people Rusa lebih baik dari manusia Sven, don't you think that's true? Sven benarkah itu? Kristoff (As Sven): Yeah, people will Ya, manusia menghajarmu, beat you and curse you and cheat you Mengutukmu, dan menipumu Every one of them's bad except you Mereka semua jahat, kecuali kau! Kristoff: Oh, thanks buddy T’rima kasih kawan But people smell better than reindeers Tapi bau manusia lebih baik Sven, don't you think I'm right? Sven benarkah aku? Kristoff (As Sven): That's once again Sekali lagi itu benar true, for all except you Kecuali dirimu Kristoff: You got me, let's call it a night Kau benar! ayolah tidur, Kristoff (As Sven): Good night S’lamat malam Kristoff: Don't let the frostbite bite Nanti kedinginan
The part of the soundtracks above is identified as dialogue song. As has been mentioned before, dialogue song is identified as two or more people are making a conversation in a song. Even though the singer in this song is only one person, but
Kristoff sing his reindeer’s part using his voice which imitating a reindeer, so it sounds as it was his reindeer who sing the song.
As explained above, the song is containing a story that need to be transferred to the viewers. So, the TL also needs to carry the meaning of the original song. It can be said that translating/dubbing both narrative songs and dialogue songs need to be identical as the original song, since the song is carried by the story told and plot of the story. So, changing the songs is not a suitable action. What is more, the translator/dubber of the animated films chose not only to give priority to the music, but also the words.
Universitas Sumatera Utara 4.1.4 Adapting the Music to the Translation
This option may be chosen when the lyrics are more important than the music but the song is still need to be sung. The using of this option may cause the modification of the melody. On the other hand, this option is suitable to be used in singing performance. On the contrary, it is not suitable to be used in dubbing. The reason may be related to lip movement of the characters on screen. In this case, the music may be changed, but the visual that appear on screen certainly cannot be changed. Since in dubbing, words and images are two things that cannot be separated. It may be a hard task for the translator to synchronize the TL and the images of the original version, but it is need to be done because that is the key factor of dubbing.
To sum up, this option still can be used but without modification of the music. The translator/dubber may translate the lyrics into target lyrics but still using the original music as the background. Then, the music will stay the same as the original version but with different language that has been dubbed.
4.1.5 Adapting the translation to the original music.
This last option may be the most suitable in case of translating soundtracks of film. In line with Franzon (2008: 386) that it is difficult for the translator to translate song while keeping the music in original version. It can be seen from the following quote:
Here, as is often the case with professional assignments, the music may not be changed, i.e. either it is difficult to change or the contract does not allow the translator to do so. Nevertheless, the contract asks for a translation – and sometimes even a functionally equivalent one. If the music must be performed as originally scored, as in stage musicals or operas, it must be the translator who modifies the verbal
Universitas Sumatera Utara rendering, by approximating more loosely, by paraphrasing or by deleting from and adding to the content of the source lyrics.
In order to synchronize the images and the lip movements of the characters on screen, the translator may do some modification of the words. Sometimes, the translator could omit or add some syllables or parts of the SL. It is done in order to synchronize the SL and the TL.
Moreover, Franzon (2008: 386) stated that the fifth option may be seen as a more common case of singable song translation. He also stated that in the case with professional assignments, the music may not be changed either because it is difficult to change or the contract does not allow the translator to do so. For the case of this song, it may be related to the visual of the animated film that cannot be changed. So, the translator/dubber has to synchronize the new version or the dub version and the lip movements of the character on screen.
The first song that is found using this choice is the song that becomes the opening of the animated film. Several lines are transferred into the TL using the second choice as has been mentioned before, but other several lines are also found using this choice. The example is shown from the example below.
Example 6
Born of cold and winter air and Lahir dengan kekuatan musim dingin mountain rain combining yang besar This icy force both foul and fair Kekuatan dingin kuat Has a frozen heart worth mining Dengan hati beku yang berharga So cut through the heart, cold and Hati yang dulu bersih terluka demi clear, strike for love and strike for fear cinta dan rasa takut See the beauty, sharp and sheer Hati bersih menawan
Universitas Sumatera Utara The original music of this song and the music of the dub song is the same. It can be heard from both versions of the song that there is no different tone after the sound of the singer is removed. It can be said that the translator was using the original music as the back sound of the dub song. In order to synchronize the dub lyrics and the original music, some modifications often happen. By seeing the example above, several words in the original lyrics are missing in the dub lyrics. It is for the reason that the dub language is longer than the original one. This choice is different from the second choice, since it is not only translating the lyrics but also lead the translator to modify the lyrics in the TL.
Example 7
Do you wanna build a snowman? Yuk, buat boneka salju, It doesn't have to be a snowman Atau mau main yang lain Elsa: Go away Anna Elsa: Pergilah Anna Anna: Okayy bye... Anna: Baiklah... Do you wanna build a snowman? Yuk, Buat boneka salju Or ride our bike around the halls? Atau bermain sepeda I think some company is overdue 'ku rasa 'ku perlu s’orang teman I've started talking to the pictures on the 'ku mulai bicara pada lukisan dinding walls Hang in there Joan Tetaplah disitu Jon! It's gets a little lonely, all these empty Sepinya hidup ini, aku tanpamu rooms Just watching the hours tick by *tick tock hanya menghitung waktu *tik tok, tik tick tock, tick tock, tick tock* tok, tik tok, tik, tok*
This choice is also found in the second song of the animated film. It can be seen from the missing and paraphrased words seen in bold. These modifications were done by the translator to synchronize the lip movement of the characters on screen and the duration of the original music. Just like the previous song, the key points of the lines were kept so the meaning from the original song is transferred in the dub version.
Universitas Sumatera Utara Example 7 also shows that the translator/dubber is translating the lyrics of the soundtracks and adapting the music accordingly. The proof of the translation is obviously seen from the result of the translation that is not changed from its original version. Franzon (2008, 381) stated that it may caused the change of the melody if the lyrics are more important than the music. Meanwhile, in the case of the soundtrack that mentioned in example 7, the length of both songs are identical, which is 3 minutes and 17 second. It is means that, the Indonesian/dub version is synchronized with the original version. It can be said that there is no certain changing in the melody of the soundtracks. One of the ways of the synchronization is by matching the lip movements of the characters on screen. Then, if the lip movements in the dub version are matched, the length will be automatically the same as the original version.
Afterwards, another way to translate/dubbing the soundtracks without changing the music is by paraphrasing the words. It is in consonance with
Fleischmann (1991, cited in Kussmaul, 1995: 28), who listened to oral translations of professional translation from German into Russian found that they used paraphrasing efficiently when they could not find direct equivalents and regarded their paraphrase as proper translation. This act is found in the third song of the animated film. As a case in point, the example related to paraphrasing is given as follow:
Example 8 Who knew we owned eight thousand Siapa yang tak punya banyak piring salad plates For years I’ve roamed these empty halls Setelah sekian lamanya sepi
Paraphrase is used when there is no direct meaning in the target language. In this case, direct meaning of the words is actually exist but in order to keep the music
Universitas Sumatera Utara as same as the original, rewording is done. Example 8 is showing how the translator/dubber gave the meaning of the original words in another form. The characters of the animated film in the original version are stating that they owned eight thousand salad plates but in Indonesian version the words are changed into who doesn’t have many plates. It also happens in the case of the other sentence of the example. The words empty halls were translated into another form become quiet, because the meanings of both words are equivalent. From the two sentences, it can be considered that the using of paraphrasing may happens when the syllable are too long, if it translated into direct meaning or translated literally.
All things considered that in order to keep the music as same as the original, some modification of the words are needed. It can be done using omission, addition, or paraphrase. These modifications are allowed as long as the translator/dubber can keep the message of the song.
4.2 Analysis of Three Layers of Singability
Based on the data finding above, the fifth choice is the most suitable among the five. It was chosen by the translator/dubber of the animated films. Besides, the fourth choice may also be chosen as long as the music stays the same as the original version. Based on Franzon (2008, 389), the last three option may lead to further option in order to make it singable. The options are leading to the three layers of singability that are prosodic, poetic and semantic-reflexive match.
Universitas Sumatera Utara 4.2.1 Prosodic Match
The first layers that indicate the singability is the prosodic match. Based on
Franzon (2008, 390), prosodic match makes use of elements of prosody: rhythm, stress, and intonation. Then, in subtitling, it may appear in the text as syllable count; rhythm; intonation; stress; sounds for easy singing. Low(2005: 197, cited in Siitonen
2014: 22), agrees with the importance of similar syllable counts in the source and target texts only partly: he says that in accordance with the Pentathlon Principle, it would be ideal to retain the original syllable count in the translation, but omitting or adding one syllable is permissible, if it necessary. To illustrate, the syllable count of both versions is given:
Example 9
1 Born of cold and winter air and Lahir dengan kekuatan musim mountain rain combining (14) dingin yang besar (15) 2 This icy force both foul and fair (8) Kekuatan dingin kuat (8) 3 Has a frozen heart worth mining (8) Dengan hati beku yang berharga(10) 4 So cut through the heart, cold and clear Hati yang dulu bersih terluka (10) (8) 5 strike for love and strike for fear (7) Demi cinta dan rasa takut (9) 6 See the beauty, sharp and sheer (7) Hati bersih menawan (7) 7 Split the ice apart (5) S’perti membelah es (6) 8 And break the frozen heart (6) Luluhkan hati beku (7) 9 Hyup! Ho! Watch your step! Let it go! Hap! Hap! Awaslah! Lepaskan! (8) (8) 10 Hyup! Ho! Watch your step! Let it go! Hap! Hap! Awaslah! Lepaskan! (8) (8) 11 Beautiful! Powerful! (6) cantik dan kuat (5) 12 Dangerous! (3) Berbahaya (4) 13 Cold! (1) Dingin (2) 14 Ice has a magic, can't be controlled (10) Es bagai sihir tak terkendali (10) 15 Stronger than one, stronger than ten (8) Lebih kuat, dari satu (8) 16 Stronger than a hundred men! Hyup!(8) Bagai seratus pria! Hap! (8) 17 This icy force both foul and fair (8) Kekuatan dingin kuat (8) 18 Has a frozen heart worth mining (8) Dengan hati beku yang berharga(10) 19 Cut through the heart, cold and clear(7) Hati yang dulu bersih terluka (10)
Universitas Sumatera Utara 20 strike for love and strike for fear (7) Demi cinta dan rasa takut (9) 21 There’s beauty and there’s danger here Indah tapi berbahaya (8) (8) 22 Split the ice apart (5) S’perti membelah es (6) 23 Beware the frozen heart (6) Awas hati membeku (7)
Example 9 shows that a prosodic match is achieved. It is because there is correspondence in syllable count between the original and dub version; even though there are some lines that have different syllable count. The lines that have different syllable count may not identical, but the viewers may enjoy and hear the dub version casually. It is because, it may seem that the syllable counts are not identical, but it only seen in print. The translator/dubber was actually giving modification of the lyrics by giving omission, addition or paraphrasing.
Example 10 born of cold and win ter air and moun tain rain com bi ning 14 la hir de ngan ke ku a tan mu sim di- yang be sar 15 ngin
The example above is showing that the syllable count of both versions is not matched. In order to overcome it, the translator modifies the stress of the word. The word dingin which consist of two syllables is sung with faster tempo than the others.
So, the stress that actually placed in di, was replaced to ngin. In addition, the intonation of part in the line is different from the original one. It is also done to the rest of the line that have different syllable count. These lines are sung faster in some parts that consisted in the line. Using that way, the dub version can be sung with the original music using the target language without any concern in the time limitation.
Besides, before the modification that is showed above, another modification also happens to the first line. It is seen from the first line of the example 9 that the words and mountain rain combining are missing in the target language. These words
Universitas Sumatera Utara are paraphrased into another word yang besar. This action was happened because
Indonesian language that consists of more syllables than English. So, the translator had to omit several words and change it into shorter suitable words that still related to the song.
The next song to be analyzed using the first layer is the song entitled Do
You Wanna Build a Snowman or in the dub version Yuk, Buat Boneka Salju. This song has pursued the first layer that is recognized by the similar syllable count of both versions of the song.
Example 11
1 Anna: Elsa? Do you wanna build a Anna: Elsa? Yuk, buat boneka salju snowman? (10) (10) 2 Come on lets go and play (6) Mainlah denganku (6) 3 I never see you anymore, (8) 'Ku tak pernah melihatmu, (8) 4 come out the door It's like you've Keluarlah, berhenti menghilang (10) gone away (10) 5 We used to be best buddies and now Dulu kita bersama, kini beda! (11) were not (11) 6 I wish you would tell me why (7) Jelaskanlah mengapa (7) 7 Do you wanna build a snowman? (8) Yuk, buat boneka salju, (8) 8 It doesn't have to be a snowman (9) Atau mau main yang lain (9) 9 Elsa: Go away Anna (5) Elsa: Pergilah anna (5) 10 Anna: Okayy bye... (3) Anna: Baiklah... (3) 11 Do you wanna build a snowman? (8) Yuk, Buat boneka salju (8) 12 Or ride our bike around the halls? (8) Atau bermain sepeda (8) 13 I think some company is overdue 'ku rasa 'ku perlu s’orang teman (10) (10) 14 I've started talking to the pictures on 'ku mulai bicara pada lukisan the walls (12) dinding (13) 15 Hang in there Joan (4) Tetaplah disitu Jon! (7) 16 It's gets a little lonely, all these Sepinya hidup ini, aku tanpamu (12) empty rooms (12) 17 Just watching the hours tick by tick hanya menghitung waktu tik tok, tik tock tick tock, tick tock,tick tock(15) tok, tik tok, tik, tok (15) 18 Elsa? (2) Elsa? (2) 19 Please, I know you're in there (6) 'ku tau kau di dalam (6) 20 People are asking where you've been S’mua mencarimu (7) (8)
Universitas Sumatera Utara 21 They say have courage and I'm 'Ku coba menguatkan diriku (10) trying to (10) 22 I'm right out here for you, just let me 'Ku ada disini! biar 'ku masuk (10) in (10) 23 We only have each other, just you Hanya kita berdua, kau dan aku (11) and me (11) 24 What are we gonna do? (6) Harus bagaimana (6) 25 Do you wanna build a snowman?(8) Yuk, Buat boneka salju (8)
It can be seen from the example above that the prosodic match is achieved.
Most of the syllable counts of both versions are identical. There are several lines that are not identical, such as line 14, 15 and 20.
In order to overcome the difference of the syllable count of line 14, the dubber also uses the same strategy as the previous song. One of the words which consist of two syllables is sung with faster tempo than the others. Meanwhile, one of the words is omitted to reduce the number of syllable. It is seen from the example below:
Example 12
I've star ted tal king to the pic tures on the walls 12 'ku mu lai bi ca ra pa- da lu ki san din ding 13
The word pada which consist of two syllables was sung with faster tempo by the dubber for the reason that the line of the original song is shorter than the dub version. For the same purpose, the word which originally written and spoken aku was omitted into ‘ku. The omission of this word is acceptable, since it doesn’t change the meaning of the original word.
Followed by the previous song, the analysis is moving to the third song. By observing the syllable count, it can be considered that this song had pursued the
Universitas Sumatera Utara prosodic match. Even though, there are several lines that are not identical. As shown from the example below, the line that is not identical.
Example 13
Wow I am so rea dy For this change 9 Ku t’lah siap un tuk pe-ru ba-han I ni 12
From the example above, the word wow and one syllable of the word telah were omitted. The word wow was omitted because it did not change the meaning when it was omitted. Then, the word telah was omitted into t’lah in order to make the word shorter. Whereas the word perubahan was sung with faster tempo than the other words in the line. The modification of the tempo has no certain influence in the
TL, since the dubber had synchronize the duration and the lip movement of the character on screen. For that reason, the viewer do not notice the modification and able to enjoy the song as similar as the original.
The next song is similar and comparable to the previous song, which had pursued the first layer or the prosodic match. It is for the reason that the syllable counts of both versions are identical. Only several lines are not identical. For example, when the character talking in the beginning and the ending of the song.
Example 14
Anna: Okay, can I just, say something Anna: ok, bolehkah aku mengatakan crazy? (10) sesuatu yang gila (16) Hans: I love crazy! (4) Hans: aku suka kegilaan(8) katakan!(10) Hans: Can I say something crazy? (7) Hans: Boleh aku mengatakan hal gila?(11) Will you marry me?(5) Maukah kau menikah denganku?(9) Anna: Can I say something even Anna: Boleh aku mengatakan hal yang crazier? Yes!(10) lebih gila ? ya! (15)
Universitas Sumatera Utara As demonstrated by the example above, the syllable count of both versions is quite different. The difference is not only one or two but more than the others. One of the dialogues is the intro before the song is started, while the other one is before the song ended. Practically those lines are not included in the song, but the viewer may able to hear the back sound of it. Having said that, the translator only synchronizes the lip movement of the character on screen, since the dubber does not have to follow the rhythm of the song.
Furthermore, the first layer or the prosodic match is also achieved in the fifth song. It can be heard from the rhythm of the dub song that matches with the original song. What’s more, the dub also has the identical syllable count with the original version. Only few lines that have difference in the syllable count. But, similar as the previous song, the dubber will sing the words with faster tempo in order to catch up the music and the lip movement of the character on screen.
Additionally, for the same reason as above, the translator omitted and paraphrased several words. To illustrate, the example 15 is given:
Example 15
The snow glows white on the mountain Salju berkilau merenda malam night Couldn't keep it in, heaven knows I've Tak sanggup lagi ku pertahankan tried Here I stand and here I'll stay Disini 'ku berdiri And I'll rise like the break of dawn Bersinar bagai mentari the cold never bothered me anyway Rasa dingin tak pernah menggangguku
The example above is showing several words that are omitted and lost in the dub version. It can be said, if the translator decide to keep these words, then the
Universitas Sumatera Utara syllable count might be not identical and the dubber cannot synchronize the lyric and the music.
The sixth song has pursued the prosodic match as well, but only for the rhythm of the lyric. It is because the syllable counts of both versions are not identical. Only several lines that have identical syllable count. The reason may be related to the translator who decided to pursue the semantic-reflexive match more than the prosodic match.
Example 16
Reindeers are better than people (8) Rusa lebih baik dari manusia(11) Sven, don't you think that's true? (6) Sven benarkah itu?(6) Yeah, people will beat you (6) Ya, manusia menghajarmu,(8) and curse you and cheat you (6) mengutukmu, dan menipumu(9) Every one of them's bad except you (9) m’reka semua jahat, kecuali kau!(10) Oh, thanks buddy(4) T’rima kasih kawan(6) But people smell better than reindeers(9) Tapi bau manusia lebih baik(10) Sven, don't you think I'm right?(6) Sven benarkah aku?(6) That's once again true,(5) S’kali lagi itu benar (8) for all except you(5) K’cuali dirimu(6) You got me, let's call it a night(8) Kau benar! ayolah tidur,(8) Good night(2) S’lamat malam(4) Don't let the frostbite bite(6) Nanti kedinginan(6)
As shown from the example 16 above, the syllable count of both versions is not identical. However, there is no omission that is found in this song. It can be said that the translator has tried to convey the semantic elements without omit anything just like what happen to the previous song. Besides, the translator did not using paraphrasing to make the lines shorter except the last line. Even though the last line is not translated literally, the semantic element of it is not missing.
By observing the syllable count of both versions, it can be said that the translator choose to pursue the prosodic match in the seventh song. It is because;
Universitas Sumatera Utara most of the lines have identical syllable count. Meanwhile, the lines that are not identical are related to the conversation between the two characters. These dialogues do not need to have identical syllable count as there are no note duration as the background music. The translator only needs to synchronize the lip movement of the characters on screen. It is showed by the example below:
Example 17
You don’t have to protect me I’m not afraid! Syllable count: 11 Kau tidak perlu melindungiku aku tidak takut Syllable count: 16
Dialogue in dubbing has not many concerns as in dub song. Since dubber only need to synchronize the lip movement of the character on screen. Whereas dub song need to synchronize the rhythm and note duration of the song.
The eighth and last songs have pursued this layer as well. It is comparable to the others previous songs that has been analyzed before that the syllable count of both versions of the songs are identical. Several lines may not be identical, but the translator/dubber overcomes it by singing one word or more with faster tempo than the other words in the line.
4.2.2 Poetic Match
Next, the second layer that may be achieved in order to indicate singability is poetic match. Conforming to Franzon (2008, 393) that a poetic form would seem to be the only way to indicate ‘singability’ (or ‘songness’) in print, since the prosody of the melody and effects of musical word-painting cannot be communicated visually. On the contrary, in dubbing and song performance, poetic match is not needed to be achieved as much as in subtitling. That is way this song is not achieved
Universitas Sumatera Utara the poetic match or the second layers of the singability. It can be seen from the example 4 below:
Example 18
Born of cold and winter air (a) Lahir dengan kekuatan musim and mountain rain combining (b) dingin yang besar This icy force both foul and fair (a) Kekuatan dingin kuat Has a frozen heart worth mining (b) Dengan hati beku yang berharga So cut through the heart, cold and clear (a) Hati yang dulu bersih terluka strike for love and strike for fear (a) Demi cinta dan rasa takut See the beauty, sharp and sheer (a) Hati bersih menawan Split the ice apart (b) S’perti membelah es And break the frozen heart (b) Luluhkan hati beku
Part of the song of the original version has some different rhymes, whereas the dub version does not rhyme. According to Apter (1989, cited in Aminoroaya,
2016: 49), if the source text has a rhyming pattern in words, the target text does not need to create an identical rhyming pattern for the translation to be successful. To sum up, it can be said that the translator/dubber was not trying to achieve poetic match.
Next, the same condition also happens to rest songs of the animated film that the second layer of singability is not achieved. One of the reason is the original song does not rhymed. The other reason is the translator may decide to pursue the other layers instead of the second layer.
4.2.3 Semantic-reflexive Match
Next, the third and the last layer to indicate singability is a semantic- reflective match. The viewers may not realize the difference of meaning between the original and the dub version. It is due to the expression of the dubber in dubbing the song as identical as the original version. As a case in point, if the expression of the
Universitas Sumatera Utara characters is happy, then the dub version needs to be happy too. In addition, the translator may synchronize the lyrics and the images portrayed on the screen in order to deliver the story told of the song.
Based on the soundtracks of the animated film, the translator/dubber chooses to pursue this layer in dubbing the song. It can be heard from the story told, mood conveyed and the expression of the characters. To illustrate, the following example is showing how the translator/dubber pursue this layer:
Example 19 Elsa? Please, I know you're in there Elsa? 'ku tahu kau di dalam People are asking where you've been Semua Mencarimu They say have courage and I'm trying to 'Ku coba menguatkan diriku We only have each other, it's just you Hanya kita berdua, kau dan aku and me What are we gonna do? Harus bagaimana Do you wanna build a snowman? Yuk, Buat boneka salju
The soundtrack was sung by Anna, one of the characters of Frozen. She sang it to Elsa, her sister on the day their parents passed away. Since the part of the song above was sung while sobbing, then the dubber need to imitate the same expression so the viewers may able to feel the same feeling as the original version.
On the contrary, an expression of character in one of the soundtracks of
Frozen is different from the original one. An expression of asking in the original version is transferred into dub version become an expression of offering. For instance the line of example 19, Do You Wanna Build a Snowman? is dubbed become Yuk
Buat Boneka Salju. These expressions may not sound different, but they may be seen different in print or in subtitle version because of the question mark in the last sentence in the original song.
Universitas Sumatera Utara Furthermore, it has been explained before that there are several lines that were omitted and paraphrased.
Example 20
3 I never see you anymore 'Ku tak pernah melihatmu, 4 come out the door It's like you've Keluarlah, berhenti menghilang gone away 6 I wish you would tell me why Jelaskanlah mengapa 10 Anna: Okayy bye... Anna: Baiklah... 12 Or ride our bike around the halls? Atau bermain sepeda 16 It's gets a little lonely, all these Sepinya hidup ini, aku tanpamu empty rooms 17 Just watching the hours tick by *tick hanya menghitung waktu *tik tok, tock tick tock, tick tock, tick tock* tik tok, tik tok, tik, tok* 19 Please, I know you're in there 'ku tau kau di dalam 20 People are asking where you've been S’mua mencarimu 21 They say have courage and I'm 'Ku coba menguatkan diriku trying to
The bold words from the example above are the several words that were omitted. Meanwhile, the rest of the lines from example 20 are the several lines that were paraphrased. Even though some words are missing, the meanings of the lines are not change, for the reason the translator has found the key words of them. The same condition also happens to the words that were replaced. These words are changed into other words that has shorter syllable but still related to the original lyrics.
The translator decided to pursue the third layer in third song as well. It is shown by the lyrics of both versions that have similar meaning. However, there are several lines that were paraphrased. To illustrate example 10 is given below:
Example 21
Who knew we owned eight thousand Siapa yang tak punya banyak piring salad plates?
Universitas Sumatera Utara As demonstrated before, the original lyric was transferred into Indonesian.
The translator decided not to translate the lyric literally. In order to fit the music and duration of the lip movement of the character on screen, the translator change the lyric in the TL with other sentence but still related to the topic of the song. Seeing the
Indonesian version above, it can be said that the translator keep the key words of the line. The words eight thousand salad plates were transferred into banyak piring or many plates. It is because the visual on screen is showing several people bring many plates. To sum up, the semantic-reflexive match is achieved in this song.
In addition, the translator needs to find the key word that need to be kept so the dub version has semantic match with the original version. As shown above, all of the omitted words that are found give no certain influence in the dub version even when they are gone.
Next, the following example is showing about the lines that are paraphrased in the fifth song. The first line of the example above is showing the order of phrase that is changed in the dub version. It is in line with Aminoroaya & Amirian (2016:
59) as a case in point in the same song that the dubbing producer has changed the order of the phrases in the Persian version. They also stated than it is considered to be acceptable since it has conveyed all the semantic elements of the original lyric.
Example 22
A kingdom of isolation Aku bagaikan ratu And it looks like I'm the queen di kerajaan terasing Turn away and slam the door Ku berpaling menjauh It's funny how some distance, Ku buat jarak menjauh makes everything seem small, Dari masalahku No right, no wrong, no rules for me! Tanpa ada yang mengatur I'm one with the wind and sky! Berkuasa di udara!
Universitas Sumatera Utara That perfect girl is gone! Yang lalu t'lah pergi!
It also happens to the rest of the lines above that the translation in the dub version is acceptable since they still related to the topic of the song and have conveyed the semantic elements of the original lines.
Lastly, it has been found that all of the songs of the animated film had pursued the semantic-reflexive match. The translator not only matches the lyrics semantically, but also the expression between the original singer and the dubber.
4.3 Findings
From the explanation above, it can be concluded that the second and fifth choices were chosen in general. It is because all of the soundtracks from the animated films were translated into Indonesian without any modification in the music. On the contrary, there has been found some modifications in the words. Some modification may due to time limitation and longer syllable in Indonesian language that caused omission in some parts of the target language. Figueroa & Gárale (2006:
201) stated that omission can be attributed to different factors, such as the belief that discourse markers, or some of them, do not carry meaning or to the process of synchronization in dubbing. To illustrate, it can be seen from example 3 that Come on lets go and play are translated into Indonesian become Mainlah denganku. The words come on lets go are omitted, because if it transferred into Indonesian, it will caused un-identical syllable count and will effect to modification of the melody. In addition, paraphrasing is also found when the translator decided to paraphrase the original lyrics with other meaning that still related to the topic of the song.
Universitas Sumatera Utara The first choice is also found, but only in part of the 7th soundtracks entitled
In Summer. For the rest of the soundtracks, the translator/dubber from the animated films was not choosing the first as it is seen from the lyrics that had been dubbed into
Indonesian. The translator was obviously not leaving the soundtracks of the animated film in its original version. Franzon (2008: 378) stated that one of the reasons in choosing the first option may have to do with famous singer behind the original song.
Even though the soundtracks of was sung by famous singer, the translator/dubber still chose to translate/dubbing the song.
Next, the third option was also not chosen by the translator/dubber. The third option seems not suitable to be done. One of the reasons why this option is not taken into consideration is because most of the soundtracks belong to narrative song and some others belong to dialogue songs, so the translator needs to synchronize the second type of synchrony which is to guarantee that the dialogue does not contradict the image
Furthermore, the fourth option is not found as well. It may be chosen if the lyrics are more important than the music but the song is still need to be sung. The using of this option may cause the modification of the melody. On the other hand, this option is suitable to be used in singing performance. On the contrary, it is not suitable to be used in dubbing. The reason may be related to lip movement of the characters on screen. In this case, the music may be changed, but the visual that appear on screen certainly cannot be changed. Since in dubbing, words and images are two things that cannot be separated. It may be a hard task for the translator to
Universitas Sumatera Utara synchronize the TL and the images of the original version, but it is need to be done because that is the key factor of dubbing.
Lastly, the last three choices are leading to further options. These options are referring to three layers of singability that make the lyrics singable. The translator may choose one of the options, but in this case, the options that are chosen were prosodic and semantic-reflexive matches. From that finding, it can be said that the translator/dubber is coinciding with Franzon (2008: 391). He state “A prosodic match would be the most basic requirement, since its absence it may technically be impossible to sing the lyrics.” As a result, leaving the prosodic match is not a wise option, especially when it related to dubbing.
Universitas Sumatera Utara CHAPTER V
CONCLUSSION AND SUGGESTION
5.1 Conclusion
Based on Franzon (2008: 376), there are five choices in song translation.
The choices are leaving the song untranslated; translating the lyrics but not taking the music into account; writing new lyrics to the original music with no overt relation to the original lyrics; translating the lyrics and adapting the music accordingly- sometimes to the extent that a brand new composition is deemed necessary; and adapting the translation to the original music. The translator may choose one of the choices or may combine them in favor to produce good translation.
Accordingly, in the case of the dubbed animated film soundtracks Frozen, the translator/dubber chose the second and fifth choices in dubbing them. It is for the reason that the translator/dubber choose to translate the lyrics into Indonesian but keep the music of the original version. On the other side, the first choice is found in the seventh soundtrack of the animated film. The translator was leaving the onomatopoeia or the yodeling in the original version un-translated. It is because that part has no meaning, so the dubber needs only to re-voice the lyric into the dub version. Moreover, based on the data finding, the fifth choice is the most suitable among the five.
Thereafter, the option that is chosen is leading to further option of layers of singability. This is done in order to make the soundtracks of the dubbed animated films become singable. From the data finding, the layers that are pursued by the
Universitas Sumatera Utara translator/dubber are the prosodic match and semantic-reflexive match. The translator/dubber pursued the prosodic match by keeping the syllable count of both versions to be identical. For that reason, there are some modifications of the words that need to be done. It is done by adding, omitting, or paraphrase some syllable or words of the source lyrics. Whereas, in order to pursue the semantic-reflexive match, the translator/dubber chose to keep the meaning of the song as identical as the original version.
To conclude, the most important thing in translating/dubbing the soundtracks of animated film is by adapting the original music which is in accordance with the fifth option. It is because; the visual cannot be changed, so the translator has to synchronize the isochrony which is to make sure that the duration of the translated exchanges is tune with the duration of the original ones and the utterances can be comfortably fitted between the moments the actor opens and shut their mouth (Fodor 1968, cited in Gambier & Doorsher, 2010: 443). It is in keeping with Franzon (ibid.: 389) that when songs appear in a film that is to be dubbed, neither the music nor the (visual) performance can possibly be changed; contextual appropriateness would also include the lip movement with which the target text must be synchronized.
Universitas Sumatera Utara 5.2 Suggestion
There are some suggestions referring to song translation, especially the analysis related to choices in song translation. Those who want to make their own translation of song may choose one of the choices as similar as the translator/dubber of the dubbed animated film soundtracks Frozen which become the data of the study.
Besides, before deciding to translating/dubbing song, it is better to choose which one is the most important between the music and the verbal message of the song.
Furthermore, the article of Franzon (2008) about choices in song translation may be used in subtitling and dubbing. So, those who want to analyze song translation may use this theory as reference. In addition, other researchers who want to analyze song translation may also use this thesis as additional reference of their research.
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Universitas Sumatera Utara APPENDICES
Appendix 1. The Lyric and Dubbing Soundtracks of Frozen
No Song Title Frozen Heart Hati Beku Born of cold and winter air and Lahir dengan kekuatan musim mountain rain combining dingin yang besar This icy force both foul and fair Kekuatan dingin kuat Has a frozen heart worth mining Dengan hati beku yang berharga So cut through the heart, cold and Hati yang dulu bersih terluka demi clear, strike for love and strike for fear cinta dan rasa takut See the beauty, sharp and sheer Hati bersih menawan Split the ice apart Seperti membelah es And break the frozen heart Luluhkan hati beku Hyup! Ho! Watch your step! Let it go! Hap! Hap! Awaslah! Lepaskan! Hyup! Ho! Watch your step! Let it go! Hap! Hap! Awaslah! Lepaskan! Beautiful! Powerful! cantik dan kuat 1 Dangerous! Berbahaya Cold! Dingin Ice has a magic, can't be controlled Es bagai sihir tak terkendali Stronger than one, stronger than ten Lebih kuat, dari satu Stronger than a hundred men! Hyup! Bagai seratus pria Born of cold and winter air and Lahir dengan kekuatan musim mountain rain combining dingin yang besar This icy force both foul and fair Kekuatan dingin kuat Has a frozen heart worth mining Dengan hati beku yang berharga Cut through the heart, cold and clear, Hati yang dulu bersih terluka demi strike for love and strike for fear cinta dan rasa takut There's beauty and there's danger here Indah tapi berbahaya Split the ice apart Seperti membelah es Beware the frozen heart. Awas hati membeku
No Song Title Do You Want to Build a Snowman? Yuk, Buat Boneka Salju Anna: Elsa? Do you wanna build a Anna: Elsa? Yuk, buat boneka snowman? salju, Come on lets go and play Mainlah denganku I never see you anymore, come out the 'Ku tak pernah melihatmu, 2 door keluarlah It's like you've gone away Berhenti menghilang We used to be best buddies and now Dulu kita bersama, kini beda! were not I wish you would tell me why Jelaskanlah mengapa Do you wanna build a snowman? Yuk, buat boneka salju, It doesn't have to be a snowman Atau mau main yang lain
Universitas Sumatera Utara Elsa: Go away Anna Elsa: Pergilah Anna Anna: Okayy bye... Anna: Baiklah... Do you wanna build a snowman? Yuk, Buat boneka salju Or ride our bike around the halls? Atau bermain sepeda I think some company is overdue 'ku rasa 'ku perlu s’orang teman I've started talking to the pictures on 'ku mulai bicara pada lukisan the walls dinding Hang in there Joan Tetaplah disitu Jon! It's gets a little lonely, all these empty Sepinya hidup ini, aku tanpamu rooms Just watching the hours tick by *tick hanya menghitung waktu *tik tok, tock tick tock, tick tock, tick tock* tik tok, tik tok, tik, tok* Elsa? Elsa? Please, I know you're in there 'ku tahu kau di dalam People are asking where you've been S’mua mencarimu They say have courage and I'm trying 'Ku coba menguatkan diriku to I'm right out here for you, just let me in 'Ku ada disini! biar 'ku masuk We only have each other, it's just you Hanya kita berdua, kau dan aku and me What are we gonna do? Harus bagaimana Do you wanna build a snowman? Yuk, buat boneka salju
No Song Title For the First Time in Forever Untuk Pertama Kalinya Anna: The window is open, so's that Anna :Jendela dan pintu terbuka door I didn't know they did that anymore Entah mengapa dibuka lagi Who knew we owned eight thousand Siapa yang tak punya banyak piring salad plates? For years I've roamed these empty Setelah sekian lamanya sepi halls Why have a ballroom with no balls? Aula tanpa pesta dansa Finally they're opn'ing up the gates Akhirnya m’reka buka gerbangnya There'll be actual real live people Akan ada orang sungguhan 3 It'll be totally strange Pastikan t’rasa aneh Wow, am I so ready for this change Ku tlah siap untuk perubahan ini 'Cause for the first time in forever Karna tuk pertama kalinya There'll be music, there'll be light Kan ada musik dan cahaya For the first time in forever Untuk pertama kalinya I'll be dancing through the night Berdansa semalaman Don't know if I'm elated or gassy Entah ku gembira atau semangat But I'm somewhere in that zone Ku berada disitu Cause for the first time in forever Karena tuk pertama kalinya I won't be alone Ku tak sendirian I can't wait to meet everyone! (gasp) Aku tidak sabar bertemu semua orang
Universitas Sumatera Utara What if I meet... the one? Bagaimana jika, seseorang Tonight imagine me gown and all Bayangkan ku memakai gaun Fetchingly draped against the wall Dan bersandar manja di dinding The picture of sophisticated grace Terlihat cantik bagai lukisan Ooh! I suddenly see him standing there Tiba-tiba ku melihatnya A beautiful stranger, tall and fair Pria asing tinggi dan tampan I wanna stuff some chocolate in my Aku ingin s’gera makan coklat face But then we laugh and talk all ev’ning, Bercanda tawa sepanjang malam Which is totally bizarre Oh, sangat tidak jelas Nothing like the life I've met so far Hal yang tak pernah ku rasakan Cause' for the first time in forever Untuk pertama kalinya There'll be magic, there'll be fun Keajaiban menyenangkan For the first time in forever Untuk pertama kalinya I could be noticed by someone Ada yang mengenaliku And I know it’s totally crazy Aku tau memang gila To dream I'd find romance Memimpikan romansa But for the first time in forever Karna tuk pertama kalinya At least I've got a chance Ada kesempatan Elsa: Don't let them in, don't let them Elsa: jangan biarkan, mereka lihat see Be the good girl you always have to be Jadilah seperti yang diharapkan Conceal, don't feel, put on a show Sembunyikan, acuhkanlah, jalanilah Make one wrong move and everyone Jangan sampai s’mua orang tahu will know Elsa: But it's only for today Elsa: Hanya tuk hari ini Anna: It's only for today Anna: Hanya tuk hari ini Elsa: It's agony to wait Elsa: Menderita menunggu Anna: It's agony to wait Anna: Menderita menunggu Elsa: Tell the guards to open up the Elsa:Pengawal bukalah gerbangnya gate Anna: The gate Anna:gerbangnya For the first time in forever Untuk pertama kalinya Elsa: Don't let them in, don't let them Elsa: Jangan biarkan, mereka lihat see Anna: I'm getting what I'm dreaming of Anna: Mimpiku kan jadi nyata Elsa: Be the good girl you always have Elsa:Jadilah seperti yang to be diharapkan Anna: A chance to change my lonely Anna:Mengubah dunia yang sunyi world Elsa: Conceal Elsa:Sembunyikan Anna: A chance to find true love Anna: Bertemu cintaku Elsa: Conceal, don't feel, don't let them Elsa:acuhkanlah, nanti mereka tahu know Anna: I know it all ends tomorrow, Anna: Besok semua ini berakhir So it has to be today Jadi harus sekarang 'Cause for the first time in forever Karna tuk pertama kalinya
Universitas Sumatera Utara For the first time in forever Untuk pertama kalinya Nothing's in my way! Tak ada penghalang
No Song Title Love is an Open Door Cinta Buka Semua Anna: Okay, can I just, say something Anna: ok, bolehkah aku mengatakan crazy? sesuatu yang gila Hans: I love crazy! Hans: aku suka kegilaan Anna: All my life has been a series of Anna: Sepanjang hidupku yang 'ku doors in my face And then suddenly I lihat hanya pintu dan tiba-tiba 'ku bump into you melihatmu Hans: I was thinking the same thing! Hans: Aku mengalami hal yang sama, Cause like I've been searching my Seolah-olah sepanjang hidup mencari whole life to find my own place tempat sendiri And maybe it's the party talking or Mungkin karna mabuk pesta atau the chocolate fondue karna cokelat Anna: But with you Anna: Denganmu Hans: But with you Hans: Denganmu I found my place 'ku temukan Anna: I see your face Anna: 'Ku lihat wajahmu Both: And it's nothing like I've ever Both: Tak seperti yang 'ku tahu dulu known before Love is an open door Cinta buka semua Love is an open door Cinta buka semua 4 Love is an open door Cinta buka semua Anna: With you Anna: Denganmu, Hans: With you Hans: Denganmu, Anna: With you Anna: Denganmu, Hans: With you Hans: Denganmu Both: Love is an open door Both: Cinta buka semua Hans: I mean it's crazy Hans: Sungguhlah aneh, Anna: What? Anna: Apa? Hans: We finish each other's Hans: Kita menghabiskan Anna: Sandwiches Anna: Roti lapis Hans: That's what I was gonna say! Hans: itulah yang akan ‘ku katakan! Anna: I've never met someone Anna: Bertemu orang yang Both: Who thinks so much like me berpikiran Jinx! Jinx again! Both: sama, sama!, sama lagi! Our mental synchronization, can have Kesinambungan pikiran hanya satu but one explanation penjelasan Hans: You Hans: engkau!, Anna: And I Anna: aku!, Hans: Were Anna: Just Anna: t'lah Both: Meant to be Both: di takdirkan Anna: Say goodbye Anna: Tinggalkan
Universitas Sumatera Utara Hans: Say goodbye Hans: Tinggalkan Both: To the pain of the past Both: Derita yang lalu We don't have to feel it any more Tak perlu di rasakan lagi Love is an open door Cinta buka semua Love is an open door Cinta buka semua Life can be so much more Cinta buka semua Anna: With you Anna: Denganmu, Hans: With you Hans: Denganmu, Anna: With you Anna: Denganmu, Hans: With you Hans: Denganmu Both: Love is an open door Both: Cinta buka semua Hans: Can I say something crazy? Hans: Boleh aku mengatakan hal Will you marry me? gila? Maukah kau menikah denganku? Anna: Can I say something even Anna: Boleh aku mengatakan hal crazier? Yes! yang lebih gila ? ya!
No Song Title Let It Go Lepaskan The snow glows white on the Salju berkilau merenda malam mountain night Not a footprint to be seen Tanpa jejak terlihat A kingdom of isolation Aku bagaikan ratu And it looks like I'm the queen di kerajaan terasing The wind is howling Angin menderu Like this swirling storm inside Bak badai dalam diri Couldn't keep it in, heaven knows I've Tak sanggup lagi ku pertahankan ... tried Don't let them in, don't let them see Jangan biarkan, mereka lihat, Be the good girl you always have to Jadilah seperti yang diharapkan be Conceal, don't feel, don't let them Sembunyi kan yang sebenarnya ... 5 know Well, now they know Sekarang mereka tahu! Let it go, let it go Lepaskan, lepaskan Can't holding back anymore Tak mampu 'ku tahan lagi Let it go, let it go Lepaskan, lepaskan Turn away and slam the door Ku berpaling menjauh I don't care what they're going to say Tak peduli yang m’reka bilang Let the storm rage on Biar badai mengamuk The cold never bothered me anyway. Rasa dingin tak pernah menggangguku It's funny how some distance, Ku buat jarak menjauh makes everything seem small, Dari masalahku and the fears that once controlled me, Takut yang dulu kurasa can't get to me at all. Kini tak ada lagi! It's time to see what I can do. Saatnya melihat kemampuanku
Universitas Sumatera Utara To test the limits and break through. Menguji kekuatanku No right, no wrong, no rules for me! Tanpa ada yang mengatur I'm free! Ku bebas! Let it go, let it go, Lepaskan! lepaskan! I'm one with the wind and sky! Berkuasa di udara! Let it go, let it go, Lepaskan! lepaskan! you'll never see me cry! Ku tak 'kan menangis! Here I stand and here I'll stay! Disini 'ku berdiri Let the storm rage on! Biar badai mengamuk ... My power flurries through the air into Kekuatanku menembus ke s’luruh the ground! bumi My soul is spiraling in frozen fractals Jiwaku berputar di dalam butiran all around! beku And one thought crystalizes like an Lewat pikiranku membekukan semua icy blast! I'm never going back, Ku tak ‘kan kembali the past is in the past. Biarlah berlalu! Let it go, let it go, Lepaskan! lepaskan! And I'll rise like the break of dawn! Bersinar bagai mentari! Let it go, let it go, Lepaskan! lepaskan! That perfect girl is gone! Yang lalu t'lah pergi! Here I stand in the light of day! Berdiri di t’rang mentari ... Let the storm rage on, Biar badai mengamuk!!! the cold never bothered me anyway. Rasa dingin tak pernah menggangguku
No Song Title Reindeers are Better than People Rusa Lebih Baik dari Manusia Kristoff: Reindeers are better than Rusa lebih baik dari manusia people Sven, don't you think that's true? Sven benarkah itu? Kristoff (As Sven): Yeah, people will Ya, manusia menghajarmu, beat you and curse you and cheat you Mengutukmu, dan menipumu Every one of them's bad except you Mereka semua jahat, kecuali kau! Kristoff: Oh, thanks buddy T’rima kasih kawan 6 But people smell better than reindeers Tapi bau manusia lebih baik Sven, don't you think I'm right? Sven benarkah aku? Kristoff (As Sven): That's once again Sekali lagi itu benar true, for all except you Kecuali dirimu Kristoff: You got me, let's call it a Kau benar! ayolah tidur, night Kristoff (As Sven): Good night S’lamat malam Kristoff: Don't let the frostbite bite Nanti kedinginan
Universitas Sumatera Utara No Song Title In Summer Di Musim Panas Bees'll buzz, Lebah mendengung, kids'll blow dandelion fuzz anak-anak meniup bunga And I'll be doin' whatever snow does Lakukan apapun yang salju buat in summerrrrrr di musim panas A drink in my hand, my snow up Minuman di tangan, tubuhku against the burning sand berbaring di pasir hangat Prob'ly getting gorgeously tanned in Mungkin jadi coklat jika berjemur summerrrrr I'll finally see a summer breeze, blow Lihat musim panas datang akhiri away a winter storm musim dingin And find out what happens to solid Lihat yang terjadi pada es beku jika water when it gets warm! menghangat And I can't wait to see, what my Tak sabar mendengar pendapat dari buddies all think of me sahabatku Just imagine how much cooler I'll be Betapa kerennya aku di musim panas in summerrrrrr Da da, da doo, ah bah bah bah bah Da da da doo ah bah bah bah bah bah bah boo boo 7 The hot and the cold are both so Hangat, dingin oh menyenangkan intense Put'em together - it just makes sense! Padukan bersama semua masuk akal Ratdadat dad dada doo Ratdadat dad dada doo Winter's a good time to stay in and Musim dingin berbaring berpelukan cuddle But put me in summer and I'll be a – tapi di musim panas aku jadi... happy snowman! Boneka salju bahagia! When life gets rough, I like to hold Saat hidup sulit, percaya mimpiku on to my dream Relaxing in the summer sun, just Bersantai di musim panas, berjemur lettin' off steam Oh the sky would be blue, and you Langit warna biru dan kalian guys'll be there too bersamaku When I finally do what frozen things Melakukan apa yang salju buat di do in summerrrrrrr musim panas Kristoff: I'm gonna' tell him - Kristoff: Akan aku beritahu dia Anna: Don't you dare! Anna: Jangan lakukan Olaf: In summerrrrrrrrr! Olaf: Musim Panas
Universitas Sumatera Utara No Song Title For the First Time in Untuk Pertama Kalinya (Reprise) Forever(Reprise) Anna: You don't have to protect me, Anna: kau tidak perlu melindungiku, I'm not afraid! aku tidak takut Please don't shut me out again, Tolong jangan acuhkan aku lagi Please don't slam the door Jangan tutup pintunya! You don't have to keep your distance Kau tak perlu menjaga jarak lagi anymore 'Cuz for the first time in forever, Karna 'tuk pertama kalinya, I finally understand akhirnya 'ku mengerti For the first time in forever, Untuk pertama kalinya, We can fix this hand in hand ayo kita perbaiki! We can head down this mountain Kita turuni gunung ini bersama! together You don't have to live in fear Tak perlu takut lagi, 'Cuz for the first time in forever, karna 'tuk pertama kalinya I will be right here 'ku ada di sini Elsa:Anna, Please go back home, Elsa: Anna, pulang saja, hidup your life awaits menunggu Go enjoy the sun and open up the Nikmati mentari dan buka gates gerbangnya Anna: Yeah, but - Anna: Ya, tapi... Elsa: I know Elsa: Aku tahu! 8 Elsa: You mean well, but leave me be Tinggalkan 'ku sendiri, aku sendiri Yes, I'm alone, but I'm alone and free tapi aku bebas Just stay away and you'll be safe from Menjauhlah maka kau 'kan aman me Anna: Actually we're not Anna: Kita tak aman Elsa: What do you mean you're not? Elsa: Apa maksudmu? Anna: I get the feeling you don't Anna: 'Ku merasa kau tak tahu know Elsa: What do I not know? Elsa: Tak tahu apa? Anna: Arendelle's in deep, deep, Anna: Arendelle terkubur di salju deep, deep snow Elsa: What?! Elsa: Apa? Anna: You've kind of set off an Anna: Kau membuat musim dingin eternal winter.. everywhere abadi di semua tempat, di mana- mana Elsa: Everywhere? Elsa: Di mana-mana? Anna: Well, it's okay, you can just Anna: Tapi kau bisa mencairkannya! unfreeze it Elsa: No, I can't, I - I don't know Elsa: Aku tidak bisa, aku... tidak tahu how! caranya! Anna: Sure you can! I know you can! Anna: Pasti kau bisa! Aku tahu kau bisa! Anna (Elsa): 'Cuz for the first time in Anna (Elsa): Karna 'tuk pertama forever, (I'm such a fool, I can't be kalinya, (Oh, aku bodoh, tak bisa
Universitas Sumatera Utara free) bebas!) You don't have to be afraid (No tak perlu takut lagi (Tak bisa 'ku lari escape from the storm inside of me) dari diriku ) We can work this out together (I can't Kita taklukkan bersama (Di luar control the curse) kendali!) We'll reverse the storm you've made hentikan badai ini (Oh, Anna, ini (Anna, please! You'll only make it semakin buruk! ) worse!) Don't panic (There's so much fear) Jangan panik, (Aku takut), We'll make the sun shine bright kembali bersinar(di sini tak aman!) (You're not safe here) We can face this thing together (No!) Kita hadapi bersama, (Tidak!) We can change this winter weather ubah badai salju ini, dan semuanya And everything we'll be - (I can't!) akan baik (aku tak bisa!)
No Song Title Fixer Upper Diperbaiki Bulda: What's the issue, dear? Bulda: ada masalah apa sayang Why are you holding back from such Mengapa kau menolak pria hebat a man? seperti dia Is it the clumpy way he walks? Apa karna cara jalannya Cliff: Or the grumpy way he talks? Cliff :Atau cara bicaranya Female Troll 1: Or the pear-shaped, Female Troll 1: Ataukah bentuk square-shaped weirdness of his feet? kakinya yang aneh Male Troll 1: And though we know Male troll 1: Walau dia sering mandi he washes Well-he always ends up sort of Tapi dia selalu bau smelly. Bulda: But you'll never meet a fellow Bulda: Hanya dia pria yang perasa who's as dan sangat manis Bulda and Cliff: Sensitive and sweet! Bulda and Cliff: Dia hanya seorang 9 So he's a bit of a fixer-upper, tukang So he's got a few flaws. Punya kekurangan Female Troll 2: Like his peculiar Female troll 2: Dia memang aneh brain dear, sayang Male Troll 2: His thing with the Male troll 2: Hanya peduli rusa reindeer. Troll Duet: That's a little outside of Troll Duet: Dan itu menentang nature's laws! Tuhan Small Group of Trolls: So he's a bit Small Group of Trolls: Oh dia hanya of a fixer-upper, seorang tukang but this we're certain of Tapi yang pasti You can fix this fixer-upper Kita bisa merubahnya Up with a little bit of love! dengan sedikit cinta Kristoff: Can we please just stop Kristoff: Bisa kalian hentikan talking about this? pembicaraan ini We've got a real, actual problem here. Kita punya masalah besar di tempat
Universitas Sumatera Utara ini Bulda: I'll say! So tell me, dear Bulda: Aku tahu, coba katakan sayang Is it the way that he runs scared? Apa itu cara larinya Male Troll 3: Or that he's socially Male Troll 3: Atau kurang sosialisasi impaired? Troll Child: Or that he only likes to Troll Child: Atau karena dia suka tinkle in the woods nyanyi di hutan Cliff: Are you holding back your Cliff: Jangan kau menahan nahannya Fondness due to his unmanly hanya karena berambut pirang blondness? Female Trolls: Or the way he covers Female Trolls: Atau caranya Up that he's the honest goods? menutupi kebaikanya All Trolls: He's just a bit of a fixer- All Trolls: Dia hanya seorang tukang upper, He's got a couple of bugs Sedikit berkutu His isolation is confirmation Sekiranya itu pertanda ia perlukan Of his desperation for human hugs sebuah pelukan So he's a bit of a fixer-upper, Dia hanya seorang tukang But we know what to do Ayo kita lakukan The way to fix up this fixer-upper Kita rubah tuk kali ini Is to fix him up with you! perbaiki untukmu Kristoff: enough! She is engaged Kristoff: hentikan hentikan cukup to someone else, okay?! Dia sudah bertunangan dengan orang lain, ok Cliff: So she's a bit of a fixer-upper, Cliff: gadis itu perlu diperbaiki Male Troll 4: That's a minor thing. Male Troll 4: Sangat disayangkan Male Troll 5: Her quote 'engagement' Male Troll 5: Kata-kata tunangannya is a flex arrangement. sama seperti janji Troll Child: And by the way I don't Troll Child: Kita ‘tak lihat ada see no ring! cincinnya Male Trolls: So she's a bit of a fixer- Male Trolls: gadis itu perlu upper, diperbaiki Her brain's a bit betwixt. Dia sedikit pusing Get the fianceé out of the way and Jauhkan dia dari tunangannya The whole thing will be fixed! Agar bisa diperbaiki Bulda: We're not sayin' you can Bulda: Kita janji bisa merubah change him, 'Cause people don't really change. Manusia takkan berubah We're only saying that love's a force Dan kutau kekuatan That's powerful and strange. Cinta itu hebat People make bad choices if they're Manusia jadi buruk mad, Or scared, or stressed. Disaat tertekan Throw a little love their way. Female Trolls: Beri mereka cinta Female Trolls: Throw a little love Beri mereka cinta their way. Bulda and Female Trolls: And you'll Kau kan terbang
Universitas Sumatera Utara bring out their best. All Trolls: True love brings out their Cintalah yang terbaik best! Everyone's a bit of a fixer-upper, Semuanya perlu tuk diperbaiki That's what it's all about! Lakukan lah Itu Cliff: Father! Cliff: Ayah, Female Troll 3: Sister! Female Troll 3: saudari Male Troll 6: Brother! Male Troll 6: saudara All Trolls: We need each other to All Trolls: Semuanya harus saling raise us up and round us out. membantu selamanya Everyone's a bit of a fixer-upper, Semuanya perlu diperbaiki disaat But when push comes to shove. yang genting Olaf: The only fixer-upper fixer Olaf: Satu satunya masalah yang That can fix up a fixer-upper is perlu untuk diperbaiki Trolls: True! true! Trolls: benar! Benar! True, true, true! Benar! Benar! Benar! Love (True love) Cinta sejati Love, love, love, love, love Cinta, cinta, cinta, cinta, cinta Love! (True love!) Cinta sejati True... Sejaaaaa... Troll Priest: Do you, Anna, take Troll Priest: Apakah kau Anna Kristoff to be your troll-fully wedded bersedia menerima kristoff sebagai pasanganmu Anna: Wait, what!? Anna: Tunggu apa? Troll Priest: -sigh- You're getting Troll Priest: Kalian akan menikah married! Trolls: Love! Trolls: Ti
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