Judi Palmer | Royal Opera House, Covent Garden, London, UK
When surtitles were first introduced, in 1982, they were intended to make opera accessible to a
larger audience. They fulfilled the basic requirement of maximum comprehension, minimum distraction. In the
intervening years, however, there has been an increase in the quantity of displayed text so that the titles have
become distracting and intrusive. In my contribution, I explore the reasons for this and discuss why I believe there
is a need to put surtitles into their perspective, within the multi-semiotic balance of lyric theatre
performances.
Burton, Jonathan. n.d. “The Joy of Opera. The Art and Craft of Opera Subtitling and Surtitling,” [URL], last accessed 23 March 2020.
Coren, Stanley. 2000. How to Speak Dog. Free Press.
Lorenz, Konrad. 1953. So kam der Mensch auf den Hund. Munich: Deutscher Taschenbuch Verlag.
Page, Jacqueline. 2013. “Surtitling Opera: A Translator’s Perspective.” In Music, Text and Translation, ed. by Helen Julia Minors, 35–48. London: Bloomsbury.
Cited by (1)
Cited by one other publication
Ożarowska, Aleksandra
2021. Od czynów do słów: intersemiotyczne nadpisy w uwspółcześnionych spektaklach operowych. Przekładaniec :43 ► pp. 162 ff.
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