Статья по переводоведению на тему Стратегии и приемы перевода языковой игры в британском стендап-юморе (на материале выступлений Дилана Морана)

СТРАТЕГИИ И ПРИЕМЫ ПЕРЕВОДА ЯЗЫКОВОЙ ИГРЫ В БРИТАНСКОМ СТЕНД-АП ЮМОРЕ (НА МАТЕРИАЛЕ ВЫСТУПЛЕНИЙ ДИЛАНА МОРАНА)
В статье, посвященной особенностям языковой специфике и трудностям перевода стенд-ап юмора, подробно рассматриваются выступления ирландского комика и актера Дилана Морана. Будут разобраны особенности его комического стиля, которые выделяют критики и которые с наибольшим трудом поддаются эквивалентному переводу. В то же время в статье будет рассмотрено то, насколько адекватный перевод коммуникативно и динамически равноценен оригиналу. Вместе с тем, необходимо отдельно отметить, что при переводе важно учитывать культурные и языковые особенности и способы, каким Дилан Поран придает своим выступлениям комическую окраску и какие темы в них поднимает.
Ключевые слова: особенности комического стиля, эквивалентный перевод, адекватный перевод, культурные особенности, языковые особенности
STRATEGIES AND TECHNIQUES FOR TRANSLATING LANGUAGE GAMES IN BRITISH STAND-UP COMEDY (BASED ON THE PERFORMANCES OF DILAN MORAN)
This article, devoted to the linguistic specifics and difficulties of translating stand-up comedy, takes a detailed look at the performances of Irish comedian and actor Dylan Moran. It examines the features of his comedic style that critics have highlighted and which are most difficult to translate equivalently. At the same time, the article will examine the extent to which an adequate translation is communicatively and dynamically equivalent to the original. However, it should be noted that when translating, it is important to take into account cultural and linguistic features and the ways in which Dylan Moran adds a comedic touch to his performances and the topics he raises in them.
Keywords: features of comical style, equivalent translation, adequate translation, cultural features, linguistic features
Humorous discourse, as a special sphere of verbal communication, is a social and psycholinguistic characteristic of a particular nation or group of people. According to A. Dolgova, humor is, first and foremost, a person's intellectual ability to notice the comical aspects of phenomena and incorporate them into verbal (written or oral), graphic, or audio form [3, p. 57].
When addressing humorous discourse, researchers encounter a plethora of terms reflecting different aspects of the embodiment of the comic phenomenon. This study examines a new genre of humorous discourse—stand-up comedy, which is a solo humorous performance in front of a live audience. The study of the structural features of this sphere of verbal communication attracts attention, on the one hand, due to its creative basis and, on the other hand, due to its progressive relevance. In addition, it reflects contemporary trends in the development of local and global linguistic communities [2].
As O. Lobova indicates, the distinctive features of stand-up comedy in general, within the framework of humorous discourse, are a variety of jokes, a comical tone, dynamism, non-standard vocabulary, and the violation of logical-conceptual and ontological norms. In particular, the stand-up genre differs from other genres of humorous discourse in its focus on the comedian's personality, the presence of dialogue with the audience, the absence of canned laughter, and the high percentage of improvisation [7, p. 5]. As a rule, the repertoire of stand-up comedians includes routines, one-liners, and improvisation with the audience. Jokes are one of the main techniques for capturing and holding attention; in stand-up terminology, a joke consists of a setup and a punch line.
Using the example of an analysis of stand-up performances by Irish comedian Dylan Moran, fundamental themes were grouped together that are most successfully covered in the genre under consideration and reflect the linguistic and cultural characteristics of both the author and the audience. Moreover, based on the identified themes, the leading methods of creating humorous effects in stand-up performances were analyzed and ways of translating them into Russian were considered.