![]() You can go: ‘OK, you find that funny, so we’ll use that as a jumping-off point in order to communicate.’(…)The job is about finding a way to communicate to an audience.(…)People are looking for that nugget of truth. “It’s sort of like a laugh is like a Rosetta Stone. Miss Coombs Marr goes on explaining the magic of translating humour: It gets a huge reaction, whether I’m in the Balkans or Germany.” - Eddie Izzard on Comedyįor most international setup standup comedians, part of the thrill will be the translation and finding where the commonalities to their audiences lie. (…) But alternative and more progressive comedy, like Monty Python can be worldwide. There’s a surreal sense, a more political observational one, and certainly countries have a mainstream sense of humour which refers to Angela Merkel, or national football stars. Why so serious?Ī couple of comedians such as Eddie Izzard, Jordan Raskopoulos, Charlie Pickering, or Zoë Coombs Marr (to name a few) - successfully attempted to bring comedy to large audiences across the globe and the secret to their success was always looking at the cultural references and signifiers. Translation is malleable and implicated, always, by systems higher above. The funny point the movie is making is that there is no true translation, not even in comedy. The dogs’ barks are translated into English.” “The humans in this film speak only in their native tongue (occasionally translated by bilingual interpreter, foreign exchange student, and electronic device). In an artistic device to prove the fallibility of translation, Anderson restricts the Japanese translation and ads in the intro descriptions the following reasoning: Take on example: Recently Wes Anderson presented his newest feature film, Isle of Dogs, in which human characters speak Japanese and Dogs barks are translated into English. In an increasingly English-speaking, globalised world, the best solution is sometimes to let certain translations stand and play with the resulting humorous moment. With Culture-bound humour comes the following dilemma: one can either bore audiences with a cryptic answer or burden them with long explanations. ![]() When complications in translation arise, they are usually caused by one of two problems: cultural references and language barriers or better yet wordplay. On the other hand, connotation may be just as difficult to grasp and take as an example the Argentinian verb “ coger”, which in the Spanish spoken within Spain has a completely different meaning than in Argentina. Denotation proves to be quite tricky when dealing with words, which are specific to a language like take for example the Brazilian word “S audade” - a virtually untranslatable concept. By this, we mean distinguishing between denotation and connotation. ![]() When translating humor, a comedian faces a particular set of challenges, which involve not offending, not missing the mark, as well as paying attention to sociolinguistic factors. All cultures laugh at their own particularities and taboos. Can you translate humour?įirst of all, humor requires implicit knowledge of a culture. And this is only beginning to describe the rules of humor. Comedy presents itself like a conversation in which both parts involved need to have a similar set of background information to get the joke. Comedy possesses something unique, utterly different from other performing arts such as music. In order to appeal to people or audiences across the world, one needs to understand how humor translates to other cultures and in other languages. It’s not just that the raw translation of words gets jumbled, the cultural context needs to be taken into consideration, allowing people to respond accordingly.
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