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EDITING

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Teatro del Maggio Musicale Fiorentino, Fondazione
Directory of Events [Catalogo delle manifestazioni] 1928-2007

Research project: Aloma Bardi
Data-base: Mauro Conti
Edited by Aloma Bardi, Luca Berni, Mauro Conti
Editorial project: Prescott Studio

First edition

2 volumes, ISBN 8871664388
Printed volume: years 1928-1997 (1,382 pages)
Data-base on cd-rom: years 1928-1997 (6,000 records, 78,000 entries)

Second edition

1 volume, ISBN 8860871700
Printed volume: years 1997-2007 (379 pages)
Data-base on cd-rom: years 1928-2007 (7,496 records, 97,051 entries)

In 1998, the Teatro del Maggio Musicale Fiorentino (the Florence Opera Theatre, founded in 1928) published its complete directory of events: Catalogo delle manifestazioni 1928-1997, 2 vols. (Chronology and Index) and a cd-rom; Aloma Bardi and Mauro Conti, eds., on a research project by Aloma Bardi, editorial project by Prescott Studio, data-base by Mauro Conti, printed by Casa Editrice Le Lettere. The Chronology, comprising the 1st volume, covers all the events of the Theatre; its extensive introductory section deals with methodological and historical contents. It has been the first catalog of a prominent theatre featuring a complete index of names and titles, which includes the 2nd printed volume. The data-base created by Mauro Conti was made available in electronic format. Through the years, the Directory, in its dual form, has proven a valuable research tool on an international level for scholars and people interested in the history of the Florence Opera Theatre. It is instrumental for the Theatre itself, to the preservation of its memory and the planning of its future seasons.

After 10 years, the second edition of the Catalogo delle manifestazioni del Teatro del Maggio Musicale Fiorentino was published in 2008: Aloma Bardi, Luca Berni, Mauro Conti, eds.; once again on an editorial project by Prescott Studio. Again in dual form (printed and on cd-rom), the Directory features a first printed volume of updates (years 1997-2007) and, in electronic format, the complete data-base created by Mauro Conti, which covers all the Theatre’s productions over the 1928-2007 time period, beginning from the establishment of the Stabile Orchestrale Fiorentina in 1928. The cd-rom is now both Macintosh (Mac) and Windows (Win) compatible.

This second edition of the Directory is much more than an update. It is a complete and detailed revision based on extensive research, and includes new entries, such as information on premières. Integrations and expansions have been made possible by the Directory’s flexible structure that enables new future updates, as well as its constant growth along with the Florence Opera Theatre experience.

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BIBLIOGRAPHY

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EDU | BIBLIOGRAPHY

AUDEN W. H., in collaboration with KALLMAN C., Translating Opera Libretti, in The Dyer’s Hand and Other Essays, New York: Random House, 1948, pp. 483-499

BACCOLINI R., BOLLETTIERI BOSSINELLI R. M., GAVIOLI L., eds., Il doppiaggio. Trasposizioni linguistiche e culturali, Bologna: Clueb, 1994

BAINES R., MARINETTI C., PERTEGHELLA M., eds., Staging and performing translation: Text and theatre practice, Basingstoke, Hampshire-New York: Palgrave Macmillan, 2011

BAKER M., In other words. A coursebook on translation, New York: Routledge, 2011

BALDACCI L., La musica in italiano, Milano: Rizzoli, 1997

BARDI A., Parola cantata o recitata e parola scritta. Pensieri per i primi dieci anni di Prescott Studio, in Prescott Studio. 1996-2006: Catalogo delle produzioni. Dieci anni di sopratitoli in Italia e in Europa, pp. 11-13, Firenze-Scandicci, 2007

BASSNETT S., Translation studies, New York: Routledge, 2002

BASSNETT S., LEVEVERE A., eds., Translation, history, and culture, London-New York: Pinter, 1990; in part. Chapter 6, Still trapped in the labyrinth: Further reflections on translations and theatre, by Susann Bassnett, pp. 90-108

BASSNETT S., TRIVEDI H., eds., Post-colonial translation: Theory and practice, London-New York: Routledge, 1999

BASSNETT S., Translation Studies, London: Methuen, 1980; 2nd ed. London-New York: Routledge, 1991

BATAILLON M., Quelques rudiments sur le sur-titrage, introduction to the meeting «Surtitrage, l’esprit et la lettre», Paris, Théâtre de l’Odéon, February 3, 2014, ed. by Laurent Muhleisen and Maison Antoine Vitez (Centre International de la Traduction Théâtrale)

BATAILLON M., MUHLEISEN L., DIEZ P.-Y, Guide du sur-titrage au théâtre, Paris: Maison Antoine Vitez (Centre International de la Traduction Théâtrale), 2016 (publication out of print, available for download at www.maisonantoinevitez.com/fr/sur-titrage.html)

BESTENTE S., Buon compleanno, sopratitoli, 16 July 2008, in http://www.fierrabras.com/2008/07/16/buon-compleanno-sopratitoli/

BRADY-BROWN A., A Sur-thing, in «Exberliner», June 7th, 2012, in http://www.exberliner.com/culture/stage/a-sur-thing/

BRUTI S., ZANOTTI S., Frontiere della traduzione audiovisiva: il fenomeno del funsubbing e i suoi aspetti linguistici, in Atti del 12° Congresso dell’Associazione italiana di linguistica applicata. Comunicare le discipline attraverso le lingue (Macerata, 23-24 febbraio 2012), pp. 119-142, ed. by C. Bosisio and S. Cavagnoli, Perugia: Guerra Edizioni, 2013

BURTON, J., The Art and Craft of Opera Surtitling, in DÍAZ-CINTAS J., ANDERMAN G., eds, Audiovisual Translation: Language Transfer on Screen, London: Palgrave Macmillan, 2009, pp. 58-70

CAIMI, A., PEREGO E., Sottotitolazione: lo stato dell’arte, in «RILA – Rassegna Italiana di Linguistica Applicata», 34 (1-2), 2002, pp. 19–51

CANETTI E., Die gerettete Zunge [1977], Frankfurt am Main: Fischer, 1980

COLOMBO S., ed., «Come si dice Wagner in italiano?» Rassegna stampa del debutto dei sopratitoli in Europa, in Prescott Studio. 1996-2006: Catalogo delle produzioni. Dieci anni di sopratitoli in Italia e in Europa, pp. 29-36, Firenze-Scandicci, 2007

CONTI M., Leggere voci. Il muto racconto dei sopratitoli, voce fuori campo del teatro, in Prescott Studio. 1996-2006: Catalogo delle produzioni. Dieci anni di sopratitoli in Italia e in Europa, pp. 15-24, Firenze-Scandicci, 2007

CONTI M., Scripta volant. L’usage de titres: un cas d’écriture volatile, contribution to the seminary Sur-titrage, l’esprit et la lettre, Paris, Théâtre de l’Odéon, February 3 2014, ed. by Laurent Muhleisen, of Maison Antoine Vitez (Centre International de la Traduction Théâtrale), scientific coordination by Michel Bataillon; translation Michel Bataillon (edited by Silvia Paparella), published in the booklet given to participants; text available in English in https://www.prescott.it/en/selected-papers (Scripta volant. Titling for the Theatre, a Case of Volatile Writing, translation by Amanda Georges)

CONTI M., The Linguistic Mediation for the Theatre. Editorial Strategies in a Form of Audiovisual Translation (2014), in https://www.prescott.it/en/selected-papers, translation by Amanda Georges

CONTI, M., On the Shoulders of a Giant. From Sub-titles for the Cinema to Sur-titles for the Theater, contribution to the workshop Reading Foreign Voices, Montclaire State University, Inserra Chair in Italian and Italian American Studies, NJ, USA, December 5 2014, translation by Helen Byrne and Aloma Bardi, in https://www.prescott.it/en/selected-papers

CONTI M., Accidental acrobatics. Surtitling strategies for theatre. An AVT case, in DE MEO M., DI MARTINO E., THORNBORROW J., eds., Creativity in translation/interpretation and interpreter/translator training, Ariccia: Aracne, 2016, pp. 175-178. International conference by T & R Forum, Neaples, Università degli Studi Suor Orsola Benincasa, 5-6 May 2016

CRAPAROTTA, A., Sottotitoli, scelte artistiche e opportunità professionali tra lingue e linguaggi: una giornata di studi alla Montclair University, in «La Voce di New York», 14 December 2014, in http://www.lavocedinewyork.com/Sottotitoli-scelte-artistiche-e-opportunita-professionali-tra-lingue-e-linguaggi-una-giornata-di-studi-alla-Montclair-University/d/9030/

D’ANGELI C., Forme della drammaturgia. Definizioni e esempi, Pisa: Seu, 2002

DE MEO M., DI MARTINO E., THORNBORROW J., eds., Creativity in translation/interpretation and interpreter/translator training, Ariccia: Aracne, 2016, pp. 175-178. International conference by T & R Forum, Neaples, Università degli Studi Suor Orsola Benincasa, May 5-6 2016

ECO U., Experiences in Translation, Toronto-Buffalo: University of Toronto Press, 2000; translated by Alastair McEwen; based on the «Emilio Goggio» Public Lectures presented Oct. 7, 9, 13, 1998, at the Faculty of Information Studies, University of Toronto

EUGENI C., Il Teatro d’opera e l’adattamento linguistico simultaneo, M.A. Thesis, Scuola Superiore di Lingue Moderne per Interpreti e Traduttori, University of Bologna, academic year 2002-2003

EUGENI C., Il sopratitolaggio. Definizione e differenze con il sottotitolaggio, 2006, in http://www.intralinea.it/volumes/ita_more.php?id=259_0_2_0_C

FINK G., Essere o non essere: la parola e i suoi codici, in BACCOLINI R., BOLLETTIERI BOSSINELLI R., M., GAVIOLI L., eds., Il doppiaggio. Trasposizioni linguistiche e culturali, Bologna: Clueb, 1994

FOURNIER-FACIO G., Io c’ero. La prima volta dei sopratitoli in Italia, in Prescott Studio. 1996-2006: Catalogo delle produzioni. Dieci anni di sopratitoli in Italia e in Europa, p. 37, Firenze-Scandicci, 2007

FREDDI M., LURAGHI S., Titling for the Opera House: a Test Case for Universals of Translations? in INCALCATERRA McLOUGHLIN L., BISCIO M. and NÍ MHAINNÍN, M. Á., eds., Audiovisual Translation. Subtitles and Subtitling: Theory and Practice, Bern-Berlin-New York: Peter Lang, 2010, pp. 55-85. See also the extensive Bibliography (in Appendix)

GAMBIER Y., Les transferts linguistiques dans les médias, Lilles: Presses Universitaires du Septentrion, 1996

GOTTLIEB H., Subtitling. A new University Discipline, in DOLLERUP C. and LODDEGAARD A., Eds., Teaching Translation and Interpreting, 1. Training, Talent and Experience, Amsterdam-Philadelphia: John Benjamins, 1992

GRAVIER M., La traduction de textes dramatiques, in «Études de linguistique appliquée», octobre-décembre 1973

HATIM B., MUNDAY J., Translation. An advanced resource book, New Jork: Routledge, 2004

HAY J., Subtitling and surtitling, in GAMBIER Y., Les transferts linguistiques dans les médias, Lille: Presses Universitaires du Septentrion, 1996

HEISS C., BOLLETTIERI BOSINELLI R. M., Traduzione multimediale per il cinema, la televisione e la scena, Bologna: Clueb, 1996

HUGHES P.J., The introduction of supertitles to opera, M. A. Thesis, Teachers College, Columbia University: New York 2003

KARAMITROGLOU  F., Towards a Methodology for the Investigation of Norms in Audiovisual Translation. The Choice Between Subtitling and Revoicing in Greece, Amsterdam-Atlanta: Editions Rodopi, 2000

MARSCHALL G.R., La traduction des livrets. Aspects théoriques, historiques et pragmatiques. Actes du colloque international tenu en Sorbonne les 30 novembre, 1er et 2 décembre 200, sous la direction de Gottfried R. Marschall, Paris: Presses de l’Université Paris-Sorbonne, 2004

LAMBERT J., La traduction des textes audiovisuels: modes et enjeux culturels, in GAMBIER Y., Les transferts linguistiques dans les médias, Lille: Presses Universitaires du Septentrion, 1996

LOW, P., Surtitles for Opera: A Specialised Translating Task, in «Babel», 48 (2), 2002, pp. 97-110

LURAGHI, S., Canta che ti passa: il sopratitolo, «Classic Voice», 27, 2001, pp. 52-55

LURAGHI S., Sottotitoli per l’opera: strategie di semplificazione in un tipo speciale di traduzione, in «Studi italiani di linguistica teorica e applicata», 33 (1), Pisa: Pacini Editore, 2004

LUZI M., Sulla traduzione teatrale, in «Testo a fronte», n. 3, Milano: Guerini, 1990, pp. 97-99.

MOINDROT I., La représentation d’opéra: poétique et dramaturgie, Paris: Puf, 1993

PAPARELLA S., I sopratitoli: metodi di traduzione e adattamento del testo, B.A. Thesis, Facoltà di Lettere e Filosofia, University of Pisa, advisor Mireille Gille, academic year 2003-2004

PARKER J., MATHEWS T., eds., Tradition, translation, trauma: The classic and the modern, Oxford-New York: Oxford University Press, 2011

PEREGO E., Evidence of explication in subtitling: toward a categorisation, in «Across language and cultures», 4 (1), pp. 63-88, 2003

PEREGO E., La traduzione audiovisiva, Roma: Carocci, 2005. See also the extensive Bibliography (in Appendix), pp. 121-126

E. PEREGO, C. TAYLOR, Tradurre l’audiovisivo, Roma: Carocci, 2012

M. PETILLO, La traduzione audiovisiva nel terzo millennio, Milano: Franco Angeli Edizioni, 2012

PIRANDELLO L., Illustratori, attori e traduttori [1907], in Saggi, Milano: Mondadori, 1939, p. 227-246.

RACAMIER M., Une vision d’ensemble du surtitrage d’opéra: vers la reconnaissance d’une nouvelle pratique de traduction?, Université de Toulouse II Le Mirail – Università di Genova, Master Professionnel en Traduction et Interprétation «Proscenio»: Traduction tecnique, multimédia et arts de la scène, headmaster Margherita Orsino, co-headmaster Micaela Rossi, academic year 2011-2012

ROCCATAGLIATI A., SALA E., Tradurre l’opera? Basta capirsi…, in «Il giornale della musica», No. 188, December 2002

SABLICH S., Wagner con le didascalie, Program notes, Die Meistersinger von Nürnberg, European début of surtitles, Florence, Teatro Comunale, 1 June 1986 (available also in https://www.prescott.it/en/selected-papers)

SABLICH S., Tradurre all’epoca dei sopratitoli, in «Il giornale della musica», No. 188, December 2002

SESTITO M., Costumi di scena del tradurre, in Prescott Studio. 1996-2006: Catalogo delle produzioni.Dieci anni di sopratitoli in Italia e in Europa, pp. 25-27, Firenze-Scandicci, 2007

SMITH S., The language of subtitling, in GAMBIER Y., Les transferts linguistiques dans les médias, Lille: Presses Universitaires du Septentrion, 1996

STAMPACCHIA E., Traduzione e sopratitolaggio. Il caso dell’opera lirica, M. A. Thesis, Facoltà di Lettere e Filosofia, University of Pavia, Silvia Luraghi advisor, academic year 2003-2004

TADDEI C., Reading Voices: The Art of Supertitles, in «New York Theatre Wire», June 2014, http://nytheatre-wire.com/ct14061t.htm

TADDEI C., Theater Festival NY Presents «Reading Voices: The Art of Supertitles», in «News Blazes», June 25, 2014, http://newsblaze.com/story/20140625120708jnyc.nb/topstory.html

TOMATIS A., L’oreille et la voix, Paris: Laffont, 1989

TOMATIS A., L’oreille et le langage, Paris: Éditions du Seuil, 1978

TOMATIS A., The conscious ear: My life of transformation through listening [L’oreille et la vie (1990)], translated by Billie M. Thompson and Stephen Lushington, Barrytown, N. Y.: Station Hill Press, 1991

TOMATIS A., The ear and the voice [L’oreille et la voix (1988)], translated by Roberta Prada and Pierre Sollier; freely adapted, with permission of the author, by Roberta Prada and Francis Keeping, Lanham, Md.: Scarecrow Press, 2005

VALLISAARI L., Subtitling and surtitling opera, in «New horizons. Proceedings of the World Congress», Melbourne: Ansit, 1996

VARIOUS AUTHORS, Prescott Studio, Directory of Productions 1996-2006 [Catalogo delle produzioni. Dieci anni di sopratitoli in Italia e in Europa], Firenze-Scandicci, 2007; writings by Aloma Bardi, Mauro Conti, Marisa Sestito, Susanna Colombo, Gastón Fournier-Facio

VARIOUS AUTHORS, Translating the sung word [La traduzione della parola cantata], Conference ed. by Sergio Sablich, Florence, Piccolo Teatro, 12-14 May 1987 (the Archive of the Teatro del Maggio Musicale Fiorentino holds a full audio recording of the event; all the conference papers are in Italian): 12, morning session: Giorgio Vidusso, chair; speakers: William Weaver (The language of opera: History, traditions, trends [La lingua dell’opera: storia, tradizioni, tendenze]), Markus Engelhardt («O wie so trügerisch?» German theatre and the issue of translation [Il teatro tedesco e il problema della traduzione]), Roman Vlad (The two «Salome» versions: A comparison [Le due «Salome» a confronto]) | 12, afternoon session: Leonardo Pinzauti, chair; speakers: Giorgio Gualerzi (The introduction in Italy of performances in the original language [L’introduzione in Italia delle esecuzioni in lingua originale]), Fedele d’Amico (Reasons for the rhythmical translation [Le ragioni della versione ritmica]), Rodolfo Celletti (The performance of the sung word [L’esecuzione della parola cantata]), Lorenzo Arruga (Translating opera: Better a fleeting gesture of interpretation than a condescending declaration of false equivalence [Tradurre l’opera: meglio un gesto effimero di interpretazione che una dichiarazione sussiegosa di finta equivalenza]) | 13, morning session: William Weaver, chair; speakers: Bruno Cagli (Notes on the translations of Rossini [Alcuni appunti sulle traduzioni rossiniane]), Giovanni Morelli (From «Traviata» to «Violette» [Da «Traviata» a «Violette»]), Marcello Conati (Verdi facing translation [Verdi di fronte alla traduzione]), Franco Serpa (The translations of «Tristan» [Le traduzioni del «Tristano»]) | 13, afternoon session: Fedele d’Amico, chair; speakers: Andrew Porter (A translator’s adventures [Avventure di un traduttore]), Jan Meyerowitz (A listener’s memories and experiences [Ricordi ed esperienze di un ascoltatore]), Flavio Testi (Translation in a composer’s experience [La traduzione nell’esperienza di un compositore]) | 14, morning session: Panel discussion «Sung word and written word: The surtitles [Parola cantata e parola scritta: i sopratitoli]»; Sergio Sablich, moderator; Piero Buscaroli, Duilio Courir, Leonardo Pinzauti, Giorgio Vidusso, panelists

VEISSIÈRE É., Mémoire de stage. Étude sur le surtitrage d’opéra, Université de Toulouse II Jean Jaurès e Università degli Studi di Genova, Master Professionnel en Traduction et Interprétation «Proscenio»: Traduction tecnique, multimédia et arts de la scène, headmasters Antonella Capra and Anna Giaufret, academic year 2015-2016

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VIDEOS & AUDIOS

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EDU | VIDEOS & AUDIOS

1986-2016. THE SURTITLING IN EUROPE IS 30 YEARS OLD

A RTC BROADCAST – RETE TOSCANA CLASSICA
December 14, 2016, 15:40
December 16, 2016, 10:40

2016
As part of «Musical Chronicles», edited by Luca Berni, RTC broadcasts the radio event
1986-2016. THE SURTITLING IN EUROPE IS 30 YEARS OLD
Interview with Luca Berni and Mauro Conti,
with the participation of Aloma Bardi and Stefano Bozolo
Sound engineer Valentina Marchi
Rete Toscana Classica

SURTITLING · A COMPLEX ART OF SIMPLICITY

1986-2016 | 1996-2016
30 Years of Surtitling in Europe
20 Years of Prescott Studio

2016
Video Testimonials by Cristiano Bacchi for Prescott Studio
on the occasion of the staging of «Iolanta» by Čajkovskij
79th Maggio Musicale Fiorentino 2016
Florence, Opera di Firenze – 28, 30 April, 3, 5 May 2016

ACCIDENTAL ACROBATICS

Surtitling strategies for the theater

2015
Video by Isabella Babbucci and Prescott Studio
Texts based on a videoconference by Mauro Conti
Schmitt Hall 119, November 19th 2015, 4:00 p.m. – «Italian Translation – A Series of Talks With Experts in the Field»
Montclair State University, NJ, USA – The College of Humanities and Social Sciences
Spearheaded and sponsored by Inserra Chair in Italian and Italian American Studies

TRANSLATING VOICES ACROSS CONTINENTS – TVAC

Surtitling for Theater

2015
A project by Inserra Chair in Italian and Italian American Studies – Montclair State University, NJ, USA
and by Prescott Studio, Florence, Italy
On the occasion of Expo Milano 2015 and of Piccolo Teatro di Milano 2015 Season (May-October)
Video by Matteo Minasi (Cinemattic Ltd)

A COMPASS FOR THE THEATER

From the subtitles for the cinema to the surtitles for the live performing arts.
A journey in 11 steps

2015
Video by Isabella Babbucci and Prescott Studio ©
Texts after the participation by Mauro Conti at the international workshop
«Reading Foreign Voices», Decembert 5th, 2014
Montclair State University, NJ, USA, Inserra Chair in Italian and Italian American Studies,
College of Humanities and Social Sciences

PERSPECTIVES ON AUDIOVISUAL TRANSLATION

Film, opera, and theater sub- and sur-titles across languages

2014
Reading Foreign Voices. A project by Montclair State University, NJ, USA – December 5th 2014
Montclair State University, NJ, USA, by means of Inserra Chair in Italian and Italian American Studies, has organized on December 5th 2014 the meeting Reading Foreign Voices. Prescott Studio was hosted with its own workshop.
Video by Matteo Minasi (Cinemattic Ltd) for Inserra Chair in Italian and Italian American Studies.

READING VOICES

Reading Voices

2013
Concept, direction and shooting: Cristiano Bacchi, ABC Studios, for Prescott Studio ©
Shooting and pictures: Milan, Teatro Strehler, March 28th 2013, Backstage of Simon Armitage’s «Odyssey», from Homer, staged by Piccolo Teatro di Milano, Theatre of Europe, together with Greece National Theatre, Athens. Project, direction, set and light design Robert Wilson. Italian surtitling, from Greek, Prescott Studio.

LET’S CALL THE WHOLE THING OFF

Language Misleadings

2013
Isabella Babbucci for Prescott Studio ©
A divertissement about the language misleadings: music George Gershwin, lyrics Ira Gershwin (from «Shall We Dance», 1937). Billie Holiday sings.

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CO-PRODUCTIONS

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EDU | CO-PRODUCTIONS

Productions in collaboration with academic institutions

Wagner
Die Meistersinger von Nürnberg
Florence, Teatro Comunale
23, 27, 30 April 2004
cond. Zubin Mehta, dir. Graham Vick
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Beckett
Glückliche Tage
Fano, Teatro della Fortuna
5, 6 November 2004
dir. Peter Brook
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Britten
Billy Budd
Genoa, Teatro Carlo Felice
10, 12, 14, 17, 19 June 2005
cond. Jonathan Webb, dir. Willy Decker
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Mozart
Die Zauberflöte
Macerata, Arena Sferisterio
28 July, 4, 11 August 2006
cond. Guillaume Tourniaire, dir. Pier Luigi Pizzi
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Wagner
Das Rheingold
Florence, Teatro Comunale
14, 19, 23, 27 June 2007
cond. Zubin Mehta, dir. La Fura dels Baus
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Shakespeare
Richard II
Verona, Teatro Romano
27, 28 June 2007
dir. Claus Peymann
Università di Udine, Italy, Course of Specialistic and Multimedia Translation

Janáček
The Makropulos Affair
Florence, Teatro Comunale
25, 27, 30 October, 2 November 2011
cond. Zubin Mehta, dir. William Friedkin
Université de Toulouse-Le Mirail, France, Course of Multimedia and Performing Arts Translations

R. Strauss
Der Rosenkavalier
Florence, Teatro Comunale
4, 6, 8, 11 May 2012
cond. Zubin Mehta, dir. Eike Gramss
Università di Pisa, Italy, Course of Comparative Literature and Languages

Moscato / Bizet
Carmen
Milan, Teatro Strehler
5, 6, 7, 8, 9, 10, 12, 13, 14, 15, 16, 17 May 2015
cond. Mario Tronco, dir. Mario Martone
Montclair State University, Inserra Chair, NJ, USA

Massini
Lehman Trilogy
Milan, Teatro Grassi
12, 13, 14, 15, 16, 18, 19, 20, 21, 23, 24, 26, 27, 28, 29, 30, 31 May 2015
dir. Luca Ronconi
Montclair State University, Inserra Chair, NJ, USA

Branciaroli
Dipartita finale
Milan, Teatro Grassi
4, 5, 6, 7, 9, 10, 11, 12, 13, 14 June 2015
dir. Franco Branciaroli
Montclair State University, Inserra Chair, NJ, USA

Goldoni
La bottega del caffè
Milan, Teatro Grassi
16, 17, 18, 19, 20, 21 June 2015
dir. Maurizio Scaparro
Montclair State University, Inserra Chair, NJ, USA

Fo
Storia di Qu
Milan, Teatro Studio
30 June, 1, 2, 3, 4, 5 July 2015
dir. Massimo Navone
Montclair State University, Inserra Chair, NJ, USA

Armitage / Omero
Odyssey
Milan, Teatro Strehler
7, 8, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20, 21, 22, 23, 24, 25, 27, 28, 29, 30, 31 October 2015
dir. Robert Wilson
Montclair State University, Inserra Chair, NJ, USA

Mouawad
Incendi
Milan, Teatro Grassi
20, 21, 22, 23, 24, 25 October 2015
dir. Guido De Monticelli
Montclair State University, Inserra Chair, NJ, USA

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NEW SYNERGIES | 2016

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NEWS | NEW SYNERGIES

NEW SYNERGIES BETWEEN ITALY AND THE USA
January-December 2016
Marks a successful first year of the specialist partnership between Prescott Studio
Inserra Chair with Italian Program (Montclair State University, NJ, USA) and ICAMus, MI, USA,
aimed at optimizing the English language version of bilingual surtitles

> 34 opera productions
> 194 performances
> 9 venues
> 3 opera houses

Multilingual surtitles play a fundamental role in the current climate of cultural internationalization, making it possible for audiences with mixed linguistic and cultural heritages to appreciate cosmopolitan theatre events, such as works of the Western opera tradition.

International audiences and productions require partnerships based on equally widening horizons, in order to achieve a linguistic mediation that is suitable to its cosmopolitan context. This is exactly what we have accomplished, by carefully coordinating the best resources of important cultural realities, both in the private and public sphere.

The partnership that has been forged among specialized societies (Prescott Studio), academic institutions (Inserra Chair and Italian Program – Montclair State University, USA) and research centres (ICAMus, USA) in 2016 alone has made possible a higher-standard English version of 34 opera productions, all presented in Italy with surtitles in two languages (Italian and English).

Furthermore, the Italian Ministry for Foreign Affairs and International Co-operation (MAECI) has acknowledged the importance of this collaboration, granting funding to the Inserra Chair (Montclair State University, USA) for the translation of rarer works of the Italian opera repertoire. The intention of the MAECI is to favour and advance the diffusion of such works among English language audiences and audiences that use the English language as a key to access different cultures.

A particularly innovative aspect of the collaboration with the Inserra Chair and Italian Program is the training of young translators through academic courses and international internships. Under the supervision of a tutor and in collaboration with Prescott Studio, students learn new translation strategies and study the complexities of linguistic mediation for live performance.

Inserra Chair (Montclair State University) – Professor Teresa Fiore
Italian Program (Montclair State University) – Professor Marisa Trubiano
ICAMus – Director Aloma Bardi

This synergy is the extension of a previous project linked to Milano Expo 2015.

Opera Houses

Rome, Fondazione Teatro dell’Opera di Roma
Florence, Fondazione Teatro del Maggio Musicale Fiorentino
Verona, Fondazione Arena di Verona

Venues

Florence, Opera di Firenze
Florence, Teatro della Pergola
Rome, Auditorio Parco della Musica, Sala Petrassi
Rome, Teatro Argentina
Rome, Teatro Costanzi
Rome, Teatro Nazionale
Rome, Terme di Caracalla
Verona, Arena

January- December 2016
12 months of productions with surtitles in two languages (Italian and English)

Poulenc
La voix humaine (in concert)
Florence, Opera di Florence
January 22, 24, 28, February 5
cond. Xǔ Zhōng

Puccini
Suor Angelica
Florence, Opera di Firenze
January 22, 24, 28, February 5
cond. Xǔ Zhōng, dir. Andrea De Rosa

Rossini
La cenerentola
Rome, Teatro Costanzi
January 22, 23, 24, 26, 27, 28, 29, February 12, 19
cond. Alejo Pérez, dir. Emma Dante

Falla
El amor bujo (in concert)
Florence, Opera di Firenze
January 23, 26, February 2, 7
cond. Guillermo García Calvo

Granados
Goyescas
Florence, Opera di Firenze
January 23, 26, February 2, 7
cond. Guillermo García Calvo, dir. Andrea De Rosa

Rossini
Il barbiere di Siviglia
Rome, Teatro Costanzi
February 11, 13, 14, 16, 17, 18, 20, 21
cond. Donato Renzetti, dir. Davide Livermore

Bizet
Les pêcheurs de perles
Florence, Opera di Firenze
February 24, 25, 26, 27, 28
cond. Ryan McAdams, dir. Fabio Sparvoli

Rossini
L’italiana in Algeri
Florence, Opera di Firenze
March 15, 16, 20, 22, 23, 26
cond. Bruno Campanella, dir. Jean Font

Berlioz
Benvenuto Cellini
Rome, Teatro Costanzi
March 22, 24, 26, 29, 31, April 4
cond. Roberto Abbado, dir. Terry Gilliam

Puccini
Il Trittico
Rome, Teatro Costanzi
April 17, 19, 20, 21, 22, 23, 24
cond. Daniele Rustioni, dir. Damiano Michieletto

Čajkovskij
Iolanta
Florence, Opera di Firenze
April 28, 30, May 3, 5
cond. Stanislav Kochanovsky, dir. Mariusz Treliński

Vacchi
Lo specchio magico
Florence, Opera di Firenze
May 7
cond. John Axelrod, dir. Edoardo Zucchetti

Britten
Albert Herring
Florence, Teatro della Pergola
May 21, 27, 29, 31
cond. Jonathan Webb, dir. Alessandro Talevi

Verdi
La traviata
Rome, Teatro Costanzi
May 24, 25, 26, 27, 28, 29, 31 maggio, June 1, 3, 4, 5, 21, 23, 25, 30
cond. Jader Bignamini, dir. Sofia Coppola

Goebbels
Schwarz auf Weiss
Rome, Teatro Argentina
May 27
dir. Heiner Goebbels

Aa
Blank Out
Rome, Auditorio Parco della Musica, Sala Petrassi
May 31
dir. Michael van der Aa

Rihm
Proserpina
Rome, Teatro Nazionale
June 7, 9
cond. Walter Kobéra, dir. Valentina Carrasco

Donizetti
Linda di Chamounix
Rome, Teatro Costanzi
June 17, 19, 22, 24, 26, 28
cond. Riccardo Frizza, dir. Emilio Sagi

Bizet
Carmen
Verona, Arena
June 24 giugno, July 1, 6, 9, 13, 16, 29, August 5, 11, 17, 20, 23, 27 agosto
cond. Xǔ Zhōng / Julian Kovatchev, dir. Franco Zeffirelli

Verdi
Aida
Verona, Arena
June 25, 30, July 3, 7, 14, 17, 24, 28, 31, August 7, 9, 14, 18, 21, 24, 28
cond. Julian Kovatchev / Andrea Battistoni, dir. Gianfranco De Bosio

Verdi
La traviata
Verona, Arena
July 2, 5, 8, 12, 15, 22, 26, 30
cond. Jader Bignamini / Fabio Mastrangelo, dir. Hugo de Ana

Verdi
Nabucco
Rome, Terme di Caracalla
July 9, 11, 23, 30, August 2, 5, 9
cond. John Fiore / Carlo Donadio, dir. Federico Grazzini

Rossini
Il barbiere di Siviglia
Rome, Terme di Caracalla
July 18, 28, August 1, 4, 10
cond. Yves Abel, dir. Lorenzo Mariani

Puccini
Turandot
Verona, Arena
July 23, 27, August 12, 19, 25
cond. Andrea Battistoni, dir. Franco Zeffirelli

Puccini
Madama Butterfly
Rome, Terme di Caracalla
July 29, August 3, 6, 8
cond. Yves Abel, dir. Àlex Ollé (La Fura dels Baus)

Verdi
Il trovatore
Verona, Arena
August 6, 10, 13, 26
cond. Daniel Oren, dir. Franco Zeffirelli

Purcell
Dido and Æneas
Rome, Teatro Costanzi
September 14, 15, 17, 18
cond. Christopher Moulds, dir. Sasha Waltz

Rossini
Semiramide
Florence, Opera di Firenze
September 27, 29, October 2, 4
cond. Antony Walker, dir. Luca Ronconi

Donizetti
Rosmonda d’Inghilterra (in concert)
Florence, Opera di Firenze
October 9, 12, 15
cond. Sebastiano Rolli

Verdi
Un ballo in maschera
Rome, Teatro Costanzi
October 16, 18, 20, 22, 23, 25, 27, 30
cond. Jesús López-Cobos, dir. Leo Muscato

Puccini
La bohème
Florence, Opera di Firenze
November 17, 19, 20, 22, 23, 26, 27
cond. Daniel Oren / Francesco Ivan Ciampa, dir. Lorenzo Mariani

Wagner
Tristan und Isolde
Rome, Teatro Costanzi
November 27, 30, December 3, 6, 9, 11, 24
cond. Daniele Gatti, dir. Pierre Audi

Verdi
Rigoletto
Rome, Teatro Costanzi
December 2, 4, 7, 10
cond. Michele Gamba, dir. Leo Muscato

Verdi
Nabucco
Florence, Opera di Firenze
December 20, 22, 24, 27
cond. Renato Palumbo, dir. Leo Muscato

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ACCIDENTAL ACROBATICS | 2015

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EDU | ACCIDENTAL ACROBATICS

Accidental Acrobatics – Surtitling Strategies for the Theater
A Videoconference by Mauro Conti
Schmitt Hall 119, November 19, 2015, 16:00 pm
«Italian Translation – A Series of Talks With Experts in the Field»
Montclair State University, NJ, USA – The College of Humanities and Social Sciences
Spearheaded and sponsored by Inserra Chair in Italian and Italian American Studies

The technical expedient of surtitling for the live performing arts, a descendant of the now one-century old practice of cinema subtitling, has made a significant contribution over the last 30 years to the international knowledge of theatrical productions, whether of drama or opera, through its role in facilitating the scaling of linguistic barriers.

Are specific strategies needed for the linguistic and cultural mediation that is being furthered by the recently emerged professional discipline of sur-titling? How are these different from the more familiar strategies used by subtitles? What kind of competences are required to fulfil the objectives of sur-titles? Accidental Acrobatics attempts to propose some answers to these questions.

But why «accidental acrobatics»? Because the use of written texts, accompanying theatrical events in order to make them linguistically comprehensible to an audience that does not know the language (or the languages) of a production, results in a balancing act that is not only an end in itself, having been imposed by rules that are implicit to the theatrical experience.

The keywords with which we find ourselves face to face are: 1. Time, 2. Rhythm, 3. Editing, 4. Service, 5. Rehearse, 6. Optimize, 7. Team – all categories that are usually foreign to the traditional field of translation (except Editing). This is an evidence of the uniqueness of sur-titles, in which the art of compromise, well known to translators, finds yet further incentives.

1. Time. Writing surtitles means telling a story in a time frame, which is stated by the stage through singing or acting. The story is told through a written text (to be read), which summarizes the vocal text (to be heard). The time standard combines those two parallel storytellings, keeping the written path dependent on the vocal path.
2. Rhythm. To make the time standard work together with the surtitling, it is necessary to consider its rhythmic aspect. Through that rhythm the score of a spoken or a sung text becomes a production. Identifying a rhythm which respects the staging (timing) leads to properly set up the storytelling of surtitling.
3. Editing. Editing is the most familiar phase to a translator; it recalls the editorial work of a publishing house. The editing suitable for surtitling, however, differs largely from the usual editorial review. «Editing», in surtitling, means «adaptation»: adaptation to timing, layout, reading times. And the editorial standards used in a production change for every single caption.
4. Service. Surtitling is a service provided to the audience. This service works if it integrates with listening and viewing. The main working tools, for this aim, are timing (dramaturgical tool), editing (adaptation), graphic layout (text layout) and the analysis of reading times (right fruition for the audience).
5. Rehearse. In theater, rehearsing is a practice shared by everyone, including the authors of surtitles. That means that every linguistic choice needs to be tested together with acting, singing, stage action. Moreover, surtitles have a both visual and semantic impact, which needs to be judged carefully, evaluating its graphic project, rhythm and narration.
6. Optimize. The various standards that make the surtitling working properly need to be well balanced. This balance is crucial to determine the functionality of a correct linguistic mediation for the live performing arts. However, this goal is to be achieved gradually, step by step. This process goes through phases which are separate yet closely linked.
7. Team. Making surtitles is a team work. Teams are made up of individuals with different skills and competences. Such working team needs to be coordinated and supervised, we could even say led by a director. What certainly should never be missing, in a team, is the spirit of compromise and the constant search for better solutions.

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TRANSLATING VOICES | 2015

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EDU | TVAC | THE ART OF COMPROMISE

TRANSLATING VOICES ACROSS CONTINENTS – TVAC
A Project for Theater and Linguistic Mediation
On the occasion of Expo Milano 2015 and of Piccolo Teatro di Milano 2015 Season

Presented by Prescott Studio, Florence, and Montclair State University, NJ, USA

With the support of the Inserra Chair in Italian and Italian American Studies in the Department of Spanish and Italian (MSU)
In collaboration with Center for Career Services and Cooperative Education (MSU)
With the participation of KIT-Kairos Italy Theatre, New York, NY, USA
and of ICAMus, International Center for American Music, Ann Arbor, MI, USA – Florence

«Translating Voices Across Continents» (TVAC) is both an educational project and a professional workshop that will result in the creation of English surtitles for Italian and international theater productions. On the one hand, the project gives American university students the opportunity to familiarize themselves with specific aspects of this multimedia translation sector, engaging them in the creative process of this work. On the other hand, it is a valuable service that will increase language access to the Piccolo Teatro di Milano’s productions for a wider audience. These productions are part of the Piccolo Teatro’s ad hoc calendar for an international audience on the occasion of Expo 2015 (Milan, May-October).

Stemming from a proposal by the Piccolo Teatro di Milano, the project is developed by Prescott Studio, a reference point in Europe for theatrical titling, and by Montclair State University (NJ, USA), that, by means of the Inserra Chair in Italian and Italian American Studies, fosters and supports interdisciplinary approaches, a cosmopolitan academic vision, and a focus on the highest expressions of Italian culture. Prescott Studio, as supervisor, will offer the professional expertise, sensibility, and organizational experience needed, while the Inserra Chair and the professors in the Italian BA program at MSU, through their own interns, will oversee the adaptations of the surtitles into English.

Group of experts involved
Mauro Conti, Director of Prescott Studio, Florence
Teresa Fiore, Inserra Chair in Italian and Italian American Studies, MSU, NJ, USA
Marisa Trubiano, Associate Professor, MSU, NJ, USA
Laura Caparrotti, Artistic Director of KIT-Kairos Italy Theatre, New York, NY, USA
Aloma Bardi, Prescott Studio Tutor and Director of ICAMus, Ann Arbor, MI, USA – Florence

> TVAC – Inserra Chair / Montclair State University – 01

The Art of Creative Compromise

Surtitling – Theoretical Models and Practical Goals. Special Internship Project for Theatrical Productions
Led by Mauro Conti and Prescott Studio

1.
Theatrical surtitling is a niche in the multimedia translation field: it involves a creative aspect while remaining rigorous, and offers, above all, a unique learning experience for those who aspire to highly qualified professional outlets in the dynamic and versatile sector of audiovisual productions.
For instance, creating surtitles for theater allows students to tackle subtitling for the cinema with an uncommon level of professionalism. The multiple skills required by surtitling include the ability to work within a team and to respect specific technical parameters: these are the premises for the creative compromise and the linguistic mediation that drive surtitling work.

2.
The internship has developed within a unique framework that brings together an Italian theater of international renown like the Piccolo Teatro di Milano and an initiative of global importance such as the Expo 2015 in Milan, during which a special calendar of events, including theater productions, will be presented.
Approaching these productions through an educational project such as TVAC is a challenge for all the parties involved (surtitling experts, students, professors acting as supervisors), requiring the deployment of multiple competences, organizational skills, patience, precision, and, last but not least, passion. The result will be a fusion of creative and professional energies that will serve as a valuable model for students as they prepare for their future professions.

3.
In essence, the project will involve students in the production-adaptation of English surtitles for a number of theater productions over Spring, Summer and Fall 2015, under the guidance of Prescott Studio and the supervision of MSU faculty members. Students will gain firsthand experience of a complex journey that melds art, craftmanship, and technology.
Along with an appreciation for the practical aspects of these translations and adaptations, students will come to understand the larger aesthetic and operational factors that have made surtitling indispensible for the world of live performance. Today, theater, like cinema – yet to an even greater degree, given the fact that it is live performance – represents the truest meeting place for languages, cultures and experiences.

Productions involved in the project

BIZET / MOSCATO / MARTONE
Carmen
From «Lacarmèn» by Enzo Moscato
Musical arrangement by Mario Tronco and Leandro Piccioni
Directed by Mario Martone
Orchestra di Piazza Vittorio
Milan, Teatro Strehler
Opening: May 5th, 2015
Surtitles in English from the Italian original

MASSINI
LEHMAN TRILOGY
Tre fratelli – I
Directed by Luca Ronconi
Milan, Teatro Grassi
Opening: May 12th, 2015
Surtitles in English from the Italian original

MASSINI
LEHMAN TRILOGY
Padri e figli – II
LEHMAN TRILOGY
Padri e figli – II
Directed by Luca Ronconi
Milan, Teatro Grassi
Opening: May 13th, 2015
Surtitles in English from the Italian original

BRANCIAROLI
Dipartita finale
Directed by Franco Branciaroli
Milan, Teatro Grassi
Opening: June 4th, 2015
Surtitles in English from the Italian original

GOLDONI
La bottega del caffè
Directed by Maurizio Scaparro
Milan, Teatro Grassi
Opening: June 16th, 2015
Surtitles in English from the Italian original

PUCCINI
Turandot
Directed by Eugenio Monti Colla
Marionettes Company by Carlo Colla and Sons
Milan, Teatro Grassi
Opening: June 26th, 2015
Surtitles in Italian and English from the Italian original

FO
Storia di Qu
Directed by Massimo Navone
Students of the Teatro Scuola Luca Ronconi
Milan, Teatro Studio
Debutto: 30 giugno 2015
Surtitles in English from the Italian original

ARMITAGE / OMERO
Odyssey
Directed by Robert Wilson
Milan, Teatro Strehler
Opening: October 6th, 2015
Surtitles in Italian and English from a Greek translation

MOUAWAD
Incendi
Directed by Guido De Monticelli
Milan, Teatro Grassi
Opening: October 20th, 2015
Surtitles in English from an Italian translation

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READING FOREIGN VOICES | 2014

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EDU | READING FOREIGN VOICES

An Interdisciplinary Conversation about Audiovisual Translation
A project by Montclair State University, NJ, USA – December 5th 2014

Montclair State University, NJ, USA,
by means of Inserra Chair in Italian and Italian American Studies,
has organized on December 5th 2014 the meeting Reading Foreign Voices,
Film, Opera, and Theater Sub- and Sur-titles Across Languages.
Prescott Studio was hosted with its own workshop

The program aims at providing a general introduction to the art and techniques of sub- and sur-titling for films, operas, and theatre performances. In combining knowledge of foreign languages, cultural awareness, aesthetic choices and technological skills, sub- and sur-titling is an ideal professional field for students of the arts and humanities with a specialization in foreign languages.
The agenda has been opened with a round table of specialists addressing the philosophy of this fascinating field, the market-based offer and demand for sub- and sur-titles, and the tricks of the trade. After a short break the program is continued with area-specific workshops during which participants could learn in detail about techniques and outcomes.

Video by Matteo Minasi (Cinemattic Ltd) for Inserra Chair in Italian and Italian American Studies

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L’ESPRIT ET LA LETTRE | 2014

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EDU | L’ESPRIT ET LA LETTRE

From a Workshop (February 2014) to a Guide (February 2016)

Workshop
SURTITLING – THE SPIRIT AND THE LETTER / L’ESPRIT ET LA LETTRE
February 2014

Paris, Théâtre de l’Odéon, February 3rd, 2014
A workshop coordinated by Laurent Muhleisen and Michel Bataillon
Maison Antoine Vitez, Centre International de la Traduction Théâtrale, Paris
With the participation of Mauro Conti, Prescott Studio, Florence

«Within European culture» – writes Laurent Muhleisen in his introduction to this French initiative – «translation holds a central role; without such a mediation, disseminating works of literature would not be possible. In the theatre productions circulating across our continent, the art of translation stands out in the surtitles practice. Without this support, the reception of a performance in a foreign language is hopelessly incomplete».

«How are surtitles conceived and designed? What ‹actors› are at work on them? What skills, what steps and strategies does their achievement imply? What artistic, technical and logistical resources should be set into motion, so that everyone in the European audience be enabled to fully experience at their best the spirit and the letter of a text while attending a performance in a foreign language? To these questions the workshop [of February 3, 2014] attempts to provide an answer».

> Mauro Conti – Scripta Volant (2014)

Guide
GUIDE DU SUR-TITRAGE AU THÉÂTRE
February 2016

In February 2016, two years after the workshop L’esprit et la lettre, the organizers have collected their reflections in a guidebook that is an important landmark in this field of study. It is the publication Guide du sur-titrage au théâtre (Paris 2016), edited by Michel Bataillon, Lauren Mühleisen and Pierre-Yves Diez on behalf of Maison Antoine Vitez (Centre International de la Traduction Théâtrale). The guide is not for sale, but downloadable at www.maisonantoinevitez.com/fr/sur-titrage.html.

Summary
– Avant-propos
– Chapitre 1, Préhistoire du sur-titrage
– Chapitre 2, Principes et pratiques du sur-titrage
– Chapitre 3, Le matériel
– Chapitre 4, L’économie du sur-titrage
– Chapitre 5, L’apprentissage du sur-titrage
– Chapitre 6, Renseignements pratiques

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GLOSSARY

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EDU | GLOSSARY

Surtitling / Surtitles

«Surtitling» or «surtitles» (see also «theatre captioning»; «supertitles» or «supertitling» more obsolete; «subtitles» or «subtitling» inappropriate) refer to the transcription or adaptation in one or (more rarely) two languages other than the original, of a text sung or recited live during a theatrical performance and projected or electronically transmitted on one or more screens (wireless or wired ) the main of which is usually located above the proscenium. In musical theatre, in order to make a text understandable to a larger audience, the surtitling service sometimes repeats the same text of the performance. # The objective of surtitles is to promote understanding of the sung or spoken text for all audiences. In particular, it is useful for hearing-impaired users, or for those who are unable to understand the original language of the performance. # The term sur-titles derives from the sub-titles used in cinema or in a broader audiovisual context (employed since 1917, at the dawn of cinema) and indicates (in the live performance) the different spatial location of the language mediation service than in cinema or in video electronic media. # Surtitles were born in January 1983 in a production of Richard Strauss’s Elektra of the Canadian Opera Company in Toronto. In September 1983 they were introduced in the United States, in a production of Cendrillon by Jules Massenet at New York State Theatre. # In Europe, the first surtitles were created by Sergio Sablich in June 1986 at the Florence Opera Theatre, for a production of Die Meistersinger von Nürnberg by Richard Wagner conducted by Zubin Mehta, as part of the Maggio Musicale Fiorentino.

Titling / Captioning

«Titling» or «captioning», in the performing arts (opera, drama, audiovisual productions), defines the work of linguistic mediation encompassing subtitling and surtitling. # Subtitling developed starting from 1917, during the silent film era, whereas surtitling has been used in the live performing arts since 1983 (at the dawning of digital systems). # With the appearance of new information systems, which opened the door to multilingual titling (DVD was launched on the market in 1986) terminological debate started, too. # In the audiovisual system, even when more than one language was used, subtitles maintained their position unchanged for many years. The newest software technologies for mobile devices, which came out as an alternative to subtitling in cinemas, or the possibilities opened up by head-mounted displays, such as subtitle glasses, have made a revision of the technical terminology necessary also in the field of those performing arts that are reproducible on electronic devices. # Even more so, in the live performing arts, the presence of multilingual options on custom individual devices (installed the first time in 1998 at the Santa Fe Opera by Figaro System) or on mobile consumer devices (experimented in 2011 at Teatro del Maggio Musicale Fiorentino by OperVoice) or on hybrid solutions (realized in 2012 at the Royal Opera House Muscat by Radio Marconi), makes the spatial connotation of the term «sur-titles» inappropriate. # In both cases (performing arts that are reproducible on electronic devices and live performing arts), for a scientific approach the term «titling», broader and all-embracing, is preferable to define the work of linguistic mediation, without specifying whether the visualization is to be above (sur-titles) or below (sub-titles).

Multilingual titling

«Multilingual titling» defines, in the field of titling for the performing arts (musical theatre, drama, audiovisual productions), the chance for the audience to follow more than one linguistic option. # In the audiovisual field, multilingual titling was made possible by the introduction of DVD (Warner Home Video, 1996) in which an integrated data-base gives access to several language channels dedicated to titling. # In the live performing arts, multilingual options (with possibility of individual choice) were introduced in 1998 at Santa Fe Opera (by Figaro System) through custom individual displays set mainly on the back of the seats, as in airplanes. # The introduction, at the end of the 1900s, of Web 2.0 and of the new mobile device technologies caused deep changes also in this field. In Europe, in 2011, a significant innovation was provided by the Maggio Musicale Fiorentino Theatre in Florence, which started the testing of a new multilingual transmission system for mobile consumer devices (by OperaVoice in partnership with Prescott Studio), that can be integrated to monolingual surtitles. # In the same year, another multilingual software for mobile consumer devices was developed, as an alternative to the use of subtitles in cinemas and, the following year (2012), a new head-mounted display system (multimedia glasses) was introduced, serving the same function (both enterprises by MovieReading). # In 2011-2012, the Royal Opera House Muscat carried out the most advanced multilingual custom display system to date, interactive and integrated to surtitles screened on a central LED panel (by Radio Marconi, with the text editing support of Prescott Studio). The simultaneous presentation of two languages was quite unusual within the more traditional surtitling system, which is used in most cases with monolingual function, but this formula (promoted in Italy by Prescott Studio) is recently increasing.

Multimedia translation / Audiovisual translation

«Multimedia translation», or «audiovisual translation», is a specialized branch of translation which implies the presence of any kind of multimedia (or audiovisual) electronic system in the translation or in the transmission process. # This kind of translation is strongly influenced, both in the form and in the substance of its creative process, by the type of device employed. Specific limits are imposed by digital graphics, and by timing and mode of use. # Multimedia translation concerns various fields, such as cinema, television, theatre, advertisement, audiovisual and mobile device communication. # The following specializations of multimedia translation can be identified: dubbing, subtitling, surtitling, cinema and TV adaptation, respeaking, audio description, mobile translation, translation for video games. # Since the late 1990s, multimedia translation has achieved a role in education. B. A and M. A. classes on this subject have been established at several universities across Europe and the United States (Boston, Dallas, Forlì, Genoa, Leeds, London, Pisa, Pittsburgh, Torino, Udine, Vigo). Prescott Studio has given a significant contribution to this educational activities.

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