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Tiyatro metinlerinin doğası gereği hem yazınsal hem de sahneleme metinleri olması sahnelenebilirlik, oynanabilirlik, söylenebilirlik ve anlaşılabilirlik gibi kavramların tartışılagelmesine neden olmuştur. Bu metinlerin çevirisinde, çevirmenlerin stratejilerini, genel olarak sahnelemeye (sahne için çeviri) ve hedef okuyucular tarafından okunmaya yönelik olarak (sayfa için çeviri) iki ayrı kutupta şekillendirdiği görülmüştür. Bu sebeple, tiyatro metinleri çevirileri değerlendirilirken, çevirilere çoğu zaman “sadık/serbest” terimleri atfedilmiştir. Sirkku Aaltonen (1997, 2000) çevirinin amaca yönelik bir eylem olarak tasarı ve planlama gerektirdiğinden ve çevirmenlerin stratejilerinin çalıştıkları sisteme göre değiştiğinden ve ayrıca çevirilerin hedef kitlenin kültürel, davranışsal ya da ideolojik gelenekleriyle uyumlu olmasının beklendiğinden bahsetmektedir. Bu görüşlerden yola çıkılarak, çalışmanın ilk amacı, Edward Albee’nin Who Is Afraid of Virginia Woolf? (1962) başlıklı oyununun, Asude Zeybekoğlu tarafından çevrilen Hain Kurttan Kim Korkar? (1985) ve Tuncay Birkan tarafından çevrilen Kim Korkar Virginia Woolf ’tan? (1993) başlıklı Türkçe çevirilerini sahnelenebilirlik, oynanabilirlik, söylenebilirlik, anlaşılabilirlik kavramları ve yazınsal ve teatral sistem çerçevesinde metinsel bir analizle irdeleyerek çevirilerin hangi sistemde işlev gördüklerini anlamaya çalışmaktır. Çalışmanın ikinci amacı ise, bahsedilen sistemleri ile Aaltonen’in, tiyatro metinlerinin sayfa ve sahne için çevirileri için atfedilen “sadık/serbest” ikili kutuplaşmasının ötesine geçmeye nasıl ışık tuttuğunu açıklamaya çalışmaktır. Çalışmanın sonucunda, Birkan’ın okunması amacıyla yaptığı çevirisinin yazınsal ve Zeybekoğlu’nun ise sahneleme amaçlı yaptığı çevirisinin teatral sistemde işlev gördüğü gözlemlenmiştir. Buna göre, iki çevirmenin de amacına ve çalıştıkları sistemin geleneklerine uygun çeviri yaptıkları ve Aaltonen’in öne sürdüğü sistem çerçevesinin iki kutupluluğun ötesine geçip bu indirgemeci yaklaşımdan kurtulmayı sağladığı sonucuna varılabilir.
Because of the nature of the theatrical texts, the existence of both written and scenic texts has led to the discouragement of concepts such as scenability, playability, speaking and understandability. In the translation of these texts, it has been seen that the translators shaped their strategies in two separate poles, generally for scenery (translation for scenery) and for reading by target readers (translation for page). Therefore, while the theatrical texts are evaluated translations, the translations are often referred to the terms "free/free". Cirku Aaltonen (1997, 2000) says that the translation requires design and planning as a target action, and that the translators’ strategies change according to the system they work on, and that the translations are expected to be in line with the cultural, behavioral or ideological traditions of the target audience. From this point of view, the first goal of the study, Edward Albee’s Who Is Afraid of Virginia Woolf? Who's Afraid of the Redemptive Rabbit, translated by Asude Zeybekoğlu? (1985) and translated by Tuncay Birkan Who's Afraid of Virginia Woolf? (1993) The title of Turkish translations is to try to understand in which system translations are functional by using a text analysis of the concepts of scanability, playability, speaking, understandability and in the framework of the written and theatrical system. The second objective of the study is to try to explain how Aaltonen, with the aforementioned systems, keeps the light to go beyond the “satisfied/free” bilateral polarization attributed to the translations of the theatrical texts for the page and stage. As a result of the study, it has been observed that the translation of Birkan for the purpose of reading is written and that the translation of Zeybekoğlu for the purpose of stage works in the theatrical system. Accordingly, it can be concluded that the two translations are translated in accordance with the purpose and the traditions of the system they work and that the system framework that Aaltonen suggests is beyond the two polarities and is able to get rid of this reducing approach.
Theater texts being intrinsically both literary and performance texts have made concepts such as performability, playability, speakability, and intelligibility debatable. Translators have been observed to choose their strategies based on two perspectives: translation strategies oriented to performability (translating for stage) and reading by target readers (translating for page). Thus, faithful vs. free translation has mostly been attributed to their evaluation. Sirkku Aaltonen (1997; 2000) posits that translation is a purpose-oriented activity that requires design and planning, adding that translators’ strategies change pursuant to the literary and theatrical system they work in. The translations are expected to comply with the cultural, behavioral, or ideological customs of the target culture. This study performed a textual analysis of the Turkish translations of Edward Albee’s Who Is Afraid of Virginia Woolf? (1962) translated by Asude Zeybekoğlu as Hain Kurttan Kim Korkar? (1985) and Tuncay Birkan as Kim Korkar Virginia Woolf ’tan? (1993) for performability, playability, speakability, and intelligibility, and the literary and theatral system within which they function. It sought to explain how Aaltonen, with his systems, goes beyond the faithful vs. free bipolarization. Consequently, it was observed that while Birkan’s translation strategy is a translation for page within the literary system, Zeybekoğlu’s translation functions within the theatrical system as she translated for the stage. The study concluded that Birkan and Zeybekoğlu translated the text based on their goals and the conventions of the system they applied and Aaltonen’s system framework enabled to digress from this minimalist approach by going beyond the bipolarization.
Alan : Filoloji
Dergi Türü : Uluslararası
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