FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY SURAKARTA

AN ANALYSIS OF THE LIBRETTO TRANSLATION OF THE MOVIE ENTITLED PHANTOM of the OPERA (VCD Version issued by Warner Bross 2004) Submitted as Partial Fulfillment for Requirements for the Sarjana Sastra Degree in English Department Faculty of Letters and Fine Arts Sebelas Maret University DIYAH ISMI ROCHAYATI C 0305002 ENGLISH DEPARTMENT FACULTY OF LETTERS AND FINE ARTS SEBELAS MARET UNIVERSITY SURAKARTA 2010

AN ANALYSIS OF THE LIBRETTO TRANSLATION OF THE MOVIE ENTITLED PHANTOM of the OPERA (VCD Version issued by Warner Bross 2004) By: DIYAH ISMI ROCHAYATI C 0305002 Approved to be examined before the Board Of Faculty of Letters and Fine Arts Sebelas Maret University Thesis Consultant: Dyah Ayu Nila Khrisna, S.S, M.Hum NIP. 198302112006042001 The Head of English Department Dr. Djatmika, M.A. NIP 19670726 199302 1 001 ii

AN ANALYSIS OF THE LIBRETTO TRANSLATION OF THE MOVIE ENTITLED PHANTOM of the OPERA (VCD Version issued by Warner Bross 2004) By: DIYAH ISMI ROCHAYATI C 0305002 Approved by the Board of Thesis Examiners of Faculty of Letters and Fine Arts Sebelas Maret University The Board of Examiners: 1. Chairman: Dr. Djatmika, M.A. NIP. 19630328199201101 2. Secretary: Ardianna Nuraeni, S.S., M.Hum NIP.198209272008122001 3. First Examiner: Dyah Ayu Nila Khrisna, S.S., M.Hum NIP.198302112006042001 4. Second Examiner: Ida Kusuma Dewi, S.S., M.A NIP.197105251998022001 Dean of Faculty of Letters and Fine Arts Drs. Sudarno, M.A NIP.195303141985061001 iii

PRONOUNCEMENT Name : Diyah Ismi Rochayati NIM : C0305002 Stated wholeheartedly that the thesis entitled AN ANALYSIS OF THE LIBRETTO TRANSLATION OF THE MOVIE ENTITLED PHANTOM of the OPERA is originally made by the researcher. It is not a plagiarism nor made by others. The things related to other people s works are written in quotation and included in the bibliography. If it is later discovered and proven that this pronouncement is prevaricating, the researcher is ready to take on any consequences from English Department of Sebelas Maret University. Surakarta, April 2010 Researcher Diyah Ismi Rochayati iv

MOTTO Keeps on Smiling However You Are (I My Self) Around here, However, we don t look backward for very long. We keep moving forward, opening up new doors and doing new things, because we re curious and curiosity keeps leading us down new paths. (Taken From Meet The Robinson, Walt Disney) There s a hero if you look inside your heart You don t have to be afraid of what you are There s an answer if you reach into your soul And the sorrow that you know will melt away And then a hero comes along With the strength to carry on And you cast your fears aside And you know you can survive. So, when you feel like hope is gone Look inside you and be strong And you finally see the truth that s a HERO lies in you ( HERO by Mariah Carey) v

DEDICATION I hereby, whole-heartedly dedicate this great job for those specials ones, who have contributed so many things so that this great job can be finished: 1. For GOD, the Lord of the life, the beginning and the end. Thanks GOD for destining this wonderful life for me guiding me and be wherever and however I am thanks a lot for loving me without YOUR affection I won t be here I won t be like this Thanks so much GOD YOU ARE MY EVERYTHING.. 2. For my beloved Abah and Ibu, you are the best parents I ever had, if there is reincarnation, I would pray to be your lovely daughter not only once but every. Thanks so much for teaching me how to live, for every tear and sweat you drooped for me. Also, for my beloved brother, thanks for being the best brother for me. Thanks so much for every thing we ve passed, are passing and will pass together sadness and happiness we will always be a strong family 3. For the strongest girl ME MY SELF vi

ACKNOWLEDGEMENTS Alhamdulillahi Rabbil Alamin, without the blessing of the almighty Allah SWT, the researcher would have never been able to begin and finish writing this thesis. I realize that this thesis could have never been completed without the assistance of a number of people. Therefore, I would like to acknowledge them: 4. Drs. Sudarno, M.A., the Dean of Letters and Fine Arts Faculty Sebelas Maret University, for approving my thesis. 5. Dr. Djatmika, M.A., the Head of English Department for the permission to write my thesis. 6. Dyah Ayu Nila Khrisna, S.S, M.Hum., my thesis supervisor. Thank you very much for your guidance, patience, concern and advises. It means a lot for me. 7. For Prof.Drs. M.R. Nababan, M.Ed, MA, PhD, thank you very much for introducing translation to me and giving many knowledge about translation and translating, it is very interesting. 8. For Ida Kusuma Dewi, S.S, M.A, thank you very much Mam, for making translation as interesting subject to learn. 9. For all raters thank you so much for helping me to collect the data, it also means a lot for me. 10. All Lecturers of English Department Sebelas Maret University, for all your supports, thank you so much. vii

11. For Capt.Yono, M.Mar, S.E, my hubby thanks so much my sweetheart for your great attention, love and never ending support for me. For always beside me in my ups and downs. 12. For my Chipmunks (Yuni and Elis) thank you so much girls for accompanying me passing these long roads of this campus in these years that will be unforgettable moments for me we will always be BFF and I love you so. 13. For all my friends of English Department 05: Intan, Rizky Adi, Arum, Sonny, Kimut, Woro, Ima, Hesti, Eva, Ebsi, Ongkow, Imeh, Vian, Dian, Andhika, Lilis, Melon, Iren, Lambang, and all my friends that I can not mention one by one thank you so much for giving me so much unforgettable moments. 14. For all my friends in GARDITARI 2 boarding house, thanks a lot for giving me such entertainments and for Riyani Gombong, thanks Bro for always picking me up on the boulevard. 15. For all my friends and family in @Net, thanks so much, I can get free internet access as long as that I want and free printings. It really helps me much. 16. For all people and for all my friends who have helped me in finishing this thesis, thank you so much friends and I Love You all. viii

TABLE of CONTENTS Title The Approval of the Consultant...i The Approval of Board of Examiners ii Pronouncement...iii Motto iv Dedication v Acknowledgement vi Table of Content viii Abstract...xii CHAPTER I: INTRODUCTION A. Background..1 B. Research Limitation..5 C. Problem Statement..5 D. Research Objectives..6 E. The Benefits of the Research..6 F. Thesis Organization..7 CHAPTER II: LITERATURE REVIEW A. Definition of Translation 8 B. Translation Technique...9 C. Opera 13 C.1 The Origin of The Opera..13 C.2 Opera in Translation 14 ix

D. Libretto.16 D.1 The Meaning of Libretto..16 D.2 Translating Libretto 17 E. Musical Film 19 F. Film Translation..20 F.1 Subtitling... 21 F.2 Dubbing.25 G. Translation Quality Assessment..26 G.1 TQA Criteria 26 G.1.1 Accuracy 27 G.1.2 Acceptability..28 G.1.3 Readability..28 G.2 Assessing Translation Quality..39 H. About the Movie..32 CHAPTER III: RESEARCH METHODOLOGY A. Research Type and Design 37 B. Data and Source of Data 38 C. Sampling Technique 39 D. Method of Data Collection 41 E. Method of Data Analysis 45 CHAPTER IV: RESEARCH FINDINGS A. Introduction 48 B. Data Analysis 49 x

B.1 The Analysis of Techniques Used B.1.1 The Kinds of Techniques 49 B.1.1.1 Literal Technique B.1.1.2 Condensation 49 50 B.1.1.3 Linguistic Compression 52 B.1.1.4 Transposition B.1.1.5 Deletion B.1.1.6 Adaptation B.1.1.7 Modulation B.1.1.8 Other Technques 54 55 56 58 59 B.1.1.8.A Couplet 59 B.1.1.8.B Triplet 61 B.1.1.8.C Transference 62 B.2 Translation Quality Assessment B.2.1 The Analysis of Accuracy 63 B.2.1.1 Accurate Translation 64 B.2.1.2 Less Accurate Translation.67 B.2.1.3 Inaccurate Translation 69 B.2.1.4 The Distribution of Accuracy 70 B.2.2 The Analysis of Acceptability.70 B.2.2.1 Acceptable Translation 72 B.2.2.2 B.2.2.3 B.2.2.4 Less Acceptable Translation..74 Unacceptable Translation 75 The Distribution of Acceptability 76 xi

B.2.3 The Analysis of Readability 76 B.2.3.1 Readable Translation 77 B.2.3.2 Less Readable Translation.79 B.2.3.3 Unreadable Translation 81 B.2.3.4 The Distribution of Readability 83 C. Toward the Quality 84 C.1 The Impact of the Technique Used Toward the Accuracy Level of Translation 84 C.2 The Impact of the Technique Used Toward the Acceptability Level of Translation.89 C.3 The Impact of the Technique Used Toward the Readability Level of Translation... 94 C.4 Interrelation...98 CHAPTER V: CONCLUSSION and RECCOMENDATION A. Conclusion..101 B. Recommendation..102 BIBLIOGRAPHY APENDICES xii

ABSTRACT Diyah Ismi Rochayati. C0305002. An Analysis of The Libretto Translation Technique of the Movie Entitled Phantom of The Opera. Thesis. English Department. Faculty of Letters and Fine Arts. Sebelas Maret University. This research focuses on the analysis of the libretto translation technique applied in the subtitle movie entitled Phantom of The Opera and Translation Quality in terms of Accuracy, Acceptability, and Readability. This research is descriptive qualitative research study. The purposes of this research are: 1) To know the techniques which are applied by the translator in translating the libretto in the movie entitled Phantom of the Opera. 2) To know the quality assessment of the libretto translation of the movie entitled Phantom of the Opera, in terms of accuracy, acceptability and readability. The research employed total sampling technique. The primary data were all the song lines of the libretto and its subtitle. The secondary data were gained from the questionnaires distributed to the three raters and 10 informants. Total data in this research is 717 data. The analysis on the translation technique shows that there are ten classifications of the techniques used. They are: Literal (18,3%), Condensation (17,2%), Linguistic Compression (15,62%), Transposition (13,39%), Deletion (12,41%), Couplet (8,65%), Adaptation (7,95%), Modulation (6,55%), Triplet (0,14%)and Transference (0,14%). The analysis on the translation accuracy shows that there are 383 data (53,42%) are accurate, 233 data (32,49%) are less accurate and the 101 data (14,09%) are inaccurate. The analysis on the translation acceptability shows that the are there are 435 data which are acceptable or 60,67%, 182 data which are less acceptable or 25,38%, and the rest 100 data or 13,95% are unacceptable. The analysis on the translation readability shows that there are 387 data which are readable or 55,98%, 223 data which are less readable or 31,24% and the rest 107 data are unreadable or 14,78%. Based on the analysis it shows that: 1) literal Technique with total 130 data, consist of 108 data (83,03%) are accurate, 20 data (15,38%) are less accurate and 2 data (1,54%) are inaccurate. 2) Condensation Technique with total 122 data, consists of 67 data (54,92%) are accurate, 51 data (15,38%) are less accurate and 2 data (1,54%) are inaccurate. 3) Linguistic Compression Technique with total 112 data, consists of 49 data (43,75%) are accurate, 63 data (56,25%) are less accurate and no datum is inaccurate. 4)Transposition Technique with total 96 data, consist of 64 data (66,67%) are accurate, 31 data (32,29%) are less accurate and 1 datum (1,04%) is inaccurate. 5) Deletion Technique with total 89 data, consist of 89 data (100%) are inaccurate. 6) Couplet 62 data, consist of 27 data (43,55%) are accurate, 33 data (53,23%) are less accurate and 2 data (3,23%) are inaccurate. 7) Adaptation Technique with total 57 data, consists of 40 data (70,18%) are accurate, 17 data (29,82%) are less accurate and no datum is inaccurate. 8) Modulation Technique with total 47 data, consists of 27 data (57,45%) are accurate, 18 data (38,29%) are less accurate and 3 data (6,38%) are xiii

inaccurate. 9) Triplet Technique with total 1 datum is accurate (100%). 10) Transference with total 1 datum is accurate (100%). Based on the analysis it shows that: 1) Literal Technique with total 130 data, consists of 117 data (90%) are acceptable, 12 data (9,23%) are less acceptable and 1 datum (0,77%) is unacceptable. 2) Condensation with total 122 data, consists of 75 data (61,48%) are acceptable, 45 data (36,88%) are less acceptable and 2 data (1,64%) are unacceptable. 3) Linguistic Compression with total 112 data, consists of 61 data (54,46%) are acceptable, 50 data (44,64%) are less acceptable and 1 datum (0,9%) is unacceptable. 4) Transposition Technique with total 96 data, consists of 66 data (68,75%) are acceptable, 26 data (27,08%) are less acceptable and 4 data (4,17%) are unacceptable. 5) Deletion with total 89 data are unacceptable (100%). 6) Couplet with total 62 data consists of 38 data (61,29%) are acceptable, 23 data (37,09%) are less acceptable, and 1 datum (1,61%) is unacceptable. 7) Adaptation with total 57 data, consists of 48 data (84,21%) are acceptable, 8 data (14,04%) are less acceptable and 1 datum (1,75%) is unacceptable. 8) Modulation with total 47 data, consists of 27 data (57,45%) are acceptable, 20 data (42,55%) are less acceptable and no datum is unacceptable. 9) Triplet with total 1 datum is acceptable (100%). 10) Transference with total 1 datum is acceptable (100%). Based on the analysis it shows that: 1) Literal Technique with total 130 data, consists of 85 data (65,38%) are readable, 41 data (31,54%) are less readable, and 4 data (3,08%) are unreadable.2) Condensation with total 122 data, consists of 75 data (61,48%) are readable, 47 data (38,52%) are less readable and no datum is unreadable.3) Linguistic Compression with total 112 data, consists of 71 data (63,39%) are readable, 37 data (33,04%) are less readable and 4 data (3,57%) are unreadable. 4) Transposition Technique with total 96 data, consists of 58 data (60,42%) are readable, 33 data (34.38%) are less readable and 5 data (5,20%) unreadable. 5) Deletion with total 89 data are readable (100%). 6) Couplet with total 62 data consists of 36 data (58,06%) are readable, 24 data (38,71%) are less readable and 2 data (3,23%) are unreadable.7) Adaptation with total 57 data, consists of 29 data (50,88%) are readable, 25 data (43,86%) are less readable and 3 (5,26%) are unreadable. 8) Modulation with total 47 data, consists of 32 data (68,09%) are readable, 15 data (31,91%) are less readable and no data are unreadable.9) Triplet with total 1 datum is readable (100%). 10) Transference with total 1 datum is less readable (100%). The differences of the culture and genre between SL and TL cause different techniques are implemented. It also influences the TQA of the libretto translation. xiv

ABSTRAK Diyah Ismi Rochayati. C0305002. An Analysis of The Libretto Translation Technique of the Movie Entitled Phantom of The Opera. Thesis. English Department. Faculty of Letters and Fine Arts. Sebelas Maret University. Penelitian ini terfokus pada analisis teknik penerjemahan libretto dalam film berjudul Phantom of the Opera dan kualitas terjemahannya dalam hal ketepatan, keberterimaan dan keterbacaan. Penelitian ini menggunakan metode deskriptif kualitatif. Tujuan dari penelitian ini adalah: 1) Untuk mengetahui teknik menerjemahkan libretto dalam film berjudul Phantom of the Opera. 2) Untuk mengetahui kualitas terjemahan libretto dalam hal keakuratan, keberterimaan dan keterbacaan. Penelitian ini menggunakan teknik total sampling. Data primer diperoleh dari semua baris libretto dan juga terjemahannya. Sedangkan data sekunder diperolah dari skor kuesioner yang diisi oleh 3 rater dan 20 informan. Total data dalam penelitian ini sejumlah 717 data. Berdasarkan analisis ada 10 teknik yang digunakan untuk menerjemahkan libretto dalam film ini, yaitu: 1) Literal (18,3%), Condensation (17,2%), Linguistic Compression (15,62%), Transposition (13,39%), Deletion (12,41%), Couplet (8,65%), Adaptation (7,95%), Modulation (6,55%), Triplet (0,14%)and Transference (0,14%). Dari analisis keakuratan, menunjukkan ada 383 data (53,42%) yang dinyatakan akurat, 233 data (32,49%) dinyatakan kurang akurat dan 101 data (14,09%) dinyatakan tidak akurat. Dari analisis keberterimaan, menunujukkan ada 435 data (60,67%) yang dinyatakan berterima,182 data (25,38%) yang dinyatakan kurang berterima and 100 data (13,95%) dinyatakan tidak berterima. Dari analisis readability mununjukkan ada 387 data yang sangat mudah dipahami atau 55,98%, 223 data yang mudah dipahami atau 31,24% dan 107 data sulit dipahami atau 14,78%. Berdasarkan analisis keakuratan distribusi data sbb: 1) Literal Teknik dengan total 130 data, terdiri dari 108 data (83,03%) akurat, 20 data (15,38%) kurang akurat dan 2 data (1,54%) tidak akurat. 2) Condensation Teknik dengan total 122 data, terdiri dari 67 data (54,92%) akurat, 51 data (15,38%) kurang akurat and 2 data (1,54%) tidak akurat. 3) Linguistic Compression Teknik dengan total 112 data, terdiri dari 49 data (43,75%) akurat, 62 data (55,36%) kurang akurat dan 1 data (0,89%) tidak akurat. 4)Transposition Teknik dengan total 96 data terdiri dari 64 data (66,67%) akurat, 31 data (32,29%) kurang akurat dan 1 data (1,04%) tidak akurat. 5) Deletion Teknik dengan total 89 data, terdiri dari 89 data (100%) tidak akurat. 6) Couplet dengan total 62 data, terdiri dari 27 data (43,55%) akurat, 32 data (51,61%) kurang akurat and 3 data (4,84%) tidak akurat. 7) Adaptation Teknik dengan total 57 data, terdiri dari 40 data (70,18%) akurat, 16 data (28,07%) kurang akurat dan 1 data (1,75%) tidak akurat. 8) Modulation Teknik dengan total 47 data, terdiri dari 27 data (57,45%) akurat, 17 data (36,17%) kurang akurat and 3 data (6,38%) tidak akurat. 9) Triplet Teknik dengan total 1 data akurat (100%). 10) Transference dengan total 1 data akurat (100%). xv

Berdasarkan analisis keberterimaan menunjukkan distribusi data sbb: 1) Literal Technique dengan total 130 data, terdiri dari 117 data (90%) berterima, 11 data (8,46%) kurang berterima dan 2 data (1,54%) tidak berterima. 2) Condensation dengan total 122 data, terdiri dari 75 data (61,48%) berterima, 45 data (36,88%) kurang berterima dan 2 data (1,64%) tidak berterima. 3) Linguistic Compression dengan total 112 data, terdiri dari 61 data (54,46%) berterima, 50 data (44,64%) kurang berterima dan1 data (0,9%) tidak berterima. 4) Transposition Teknik dengan total 96 data, terdiri dari 66 data (68,75%) berterima, 26 data (27,08%) kurang berterima dan 4 data (4,17%) tidak berterima. 5) Deletion dengan total 89 data tidak berterima (100%). 6) Couplet dengan total 62 data terdiri dari 38 data (61,29%) berterima, 21 data (33,87%) kurang berterima, and 3 data (4,84%) tidak berterima. 7) Adaptation dengan total 57 data, terdiri dari 48 data (84,21%) berterima, 8 data (14,04%) kurangberterima dan 1 data (1,75%) tidak berterima. 8) Modulation dengan total 47 data, terdiri dari 26 data (55,32%) berterima, 17 data (36,17%) kurang berterima dan 4 data (8,51%) tidak berterima. 9) Triplet dengan total 1 data berterima (100%). 10) Transference dengan total 1 data is berterima (100%). Berdasarkan analisis keterbacaan menunjukkan distribusi data sbb: 1) Literal Technique dengan total 130 data, terdiri dari 85 data (65,38%) sangat mudah dipahami, 41 data (31,54%) mudah dipahami, dan 4 data (3,08%) sulit dipahami.2) Condensation dengan total 122 data, etrdiri dari 75 data (61,48%) sangat mudah dipahami, 47 data (38,52%) mudah dipahami dan tidak ada data yang sulit dipahami.3) Linguistic Compression dengan total 112 data, terdiri dari 71 data (63,39%) sangat mudah dipahami, 37 data (33,04%) mudah dipahami dan 4 data (3,57%) sulit dipahami. 4) Transposition Technique dengan total 96 data, terdiri dari 58 data (60,42%) sangat mudah dipahami, 33 data (34.38%) mudah dipahami and 5 data (5,20%) sulit dipahami. 5) Deletion dengan total 89 data sangat mudah dipahami (100%). 6) Couplet dengan total 62 data terdiri dari 36 data (58,06%) sangat mudah dipahami, 24 data (38,71%) mudah dipahami and 2 data (3,23%) sulit dipahami.7) Adaptation dengan total 57 data, terdiri dari 29 data (50,88%) sangat mudah dipahami, 25 data (43,86%) mudah dipahami dan 3 (5,26%) sulit dipahami. 8) Modulation dengan total 47 data, terdiri dari 32 data (68,09%) sangat mudah dipahami, 15 data (31,91%) mudah dipahami dan tidak data yang sulit dipahami.9) Triplet dengan total 1 data yang sangat mudah dipahami (100%). 10) Transference dengan total 1 data yang mudah dipahami (100%). xvi

CHAPTER I INTRODUCTION A. Background Opera is an art form in which singers and musicians perform a dramatic work, which combines a text (called a libretto) and a musical score. Opera is part of the Western classical music tradition. It incorporates many of the elements of spoken theatre, such as acting, scenery, and costumes and sometimes includes dance. The performance is typically given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera was first originated at Florence towards the end of the 16 th century and soon spread through the rest Europe until the end of 17 th century. Greatly, at the beginning of the 18 th century, opera has dominated most of Europe. The spread of the opera was so fast around 19 th century, opera has reached its golden age. Then, major opera houses and production companies have begun broadcasting their performances to local cinemas throughout the United States and in many other countries. The Metropolitan Opera first opened in 1883. Many of its performances are also shown live in movie theaters around the world. With the rise of recording technology, in the beginning of the 20 th century, opera was also performed on (and written for) radio and television. Opera itself actually consists of several parts such as: the actors, the stage, music scores, and of course libretto. The last part, the libretto is an opera s words whereas in the stage play, the words are called script, and in a movie they re called the screenplay. The libretto s form, in form of song or text being sung, differs the opera from other literary works or stage literary. However, this part xvii

also that definitely important for the spread and the advance of the opera, as this part that is broadly translated into various languages. It can finally make the opera spread all over the world; well it is in form of stage opera (live show) or recorded versions (broadcasted by TV or movie/ film). Nowadays there is a fact that the opera is not only staged or broadcasted (recorded version) on its milieu but also on the different places. When the opera is broadcasted in different places, it is definitely possible that the opera will be staged or broadcasted in the middle of the society with different languages from its milieu. When it happens, it is the time for the translator to do his job. He should translate the opera s libretto into the target language. As translation is the process of transferring, here the translator not only holds the role for translating the text of the movie, but also the message of the movie. Nida and Teber (1974:12) states translating consists in reproducing in receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in term of style. For translating opera, actually there are two ways that can be taken into account those are surtitles (for live performance) and subtitle (for recorded performances). From that kinds of language transfer modes, subtitle become more popular today. It is caused the change of the people s habit. As the increasing of the people activities today, the people tend to choose the entertainment which is flexible and suitable for their activities. From the change of this habit, movie is concerned to be suitable for this condition, as the movie can be enjoyed whether in the cinema (if they want to go outside) or at home in form of VCD or DVD (if xviii

they don t want to spend more energy to go outside).this condition that also influences the development of the opera today. There are many operas which are adapted in form of movie. Phantom of the Opera becomes one of them. Because opera is basically and dominantly built with libretto (songs or text being sung), opera adaption in form of movie can be called as musical movie, where the songs indeed are sung interwoven by the characters and used to advance the plot. There is also one thing that should be considered, the songs also function as script dialog, so there are several things that actually should be concerned by the translator: 1. The translator should understand well the libretto. 2. The translation should preserve the meaning of the original libretto (song), considering the music 3. Considering about the music. As the music will give the impression about the piece. 4. Using the suitable words which fit to line and rhymes (for live performance). 5. The translated text should provoke the same feelings as the original piece and the main idea of the story must remain unchanged. http://encarta.msn.com/encyclopedia_761571461/libretto.html For that reasons, there are some techniques should be applied, so that the translated libretto can meet the need of the target reader or the audience for accessing the plot story of the movie. Here are some examples representing the problem above, taken from the movie entitled Phantom of the Opera : xix

Example 1 No. Data SL TL 135 Whose is the face in the mask? Wajah dalam topeng. 228 May I see her? Aku boleh bertemu dengannya? The examples above show that the arrangement of the sentence has changed. The example 135, the sentence changed from interrogative sentence into positive sentence. The example 228, the sentence arrangement also has changed. May I? should be translated as Boleh aku..? into Aku boleh..?. Both examples show the implementation of Transposition Technique. Example 2 No. Data SL TL 085 He's there, The Phantom of the Not translated Opera! 137 You little prying Pandora. Not translated Those examples above are not translated at all. It shows the implementation of the Deletion Technique. Example 3 No. Data SL TL 052 No, Raoul, wait! Tidak, Roul, Tunggu! 148 Fear can turn to love ketakutan berubah menjadi cinta The translated words of those examples are arranged consecutively like the arrangement of the SL. It shows the implementation of Literal Technique here. xx

Based on the examples above can be noticed that the translator applied different kinds of translation techniques. Concerning the problems above, the researcher is interested in holding the research AN ANALYSIS OF THE LIBRETTO TRANSLATION OF THE MOVIE ENTITLED PHANTOM of the OPERA besides, the researcher also asses its translation quality in term of accuracy, acceptability and readability. B. Research Limitation Problem limitation in a research is essentially needed to avoid the difficulties of the problems solving. Beside that, problem limitation aimed to direct the writer s concentration, so that the problems can be analyzed deeply. The research is focused on the libretto s translation of the movie entitled Phantom of the Opera in form of subtitle. The research was conducted to analyze the translation techniques which are applied. Besides, the researcher also analyzed the translation quality in terms of its accuracy, acceptability and readability. C. Problem Statements Based on the research background stated above, the research was conducted to answer the following problems: 1. What are the techniques applied by the translator in translating the libretto in the movie entitled Phantom of the Opera? 2. From the techniques applied, how is the quality assessment in terms of accuracy, acceptability and readability? xxi

D. Research Objectives The objectives of the research are: 1. To know the techniques which are applied by the translator in translating the libretto in the movie entitled Phantom of the Opera. 2. To know the quality assessment of the libretto translation of the movie entitled Phantom of the Opera, in terms of accuracy, acceptability and readability. E. The Benefits of the Research The researcher expects the research will be beneficial for: 1. Students: the researcher expects the research will be beneficial for the students for the additional reference, especially the information related with techniques in translating libretto in form of subtitling. 2. Lecturers: the researcher expects that the research will be beneficial for the lecturers as the additional information in giving lectures, especially lectures related with techniques in translating libretto, especially in form of subtitling 3. Translators: the researcher expects that the research will be beneficial as the additional reference as well as additional information, for the translators who are interested in translating libretto. 4. Other Researcher: the researcher expects that the research will stimulate other researcher for conducting the further xxii

research, especially the research related with translating libretto. F. Thesis Organization The organization of this thesis is: CHAPTER I: Background, Research Limitation, Problem Statement, Research Objectives, Research Benefits, Thesis Organization. CHAPTER II: Definition of Translation, Translation Technique, Opera, Libretto, Musical Film, Film Translation, Translation Quality Assessment. CHAPTER III: Research Type and Design, Data and Source of Data, Sampling Technique, Method of Data Collection, Method of Data Analysis. CHAPTER IV: Research Findings CHAPTER V: Conclusion and Recommendation BIBLIOGHRAPHY APPENDICES xxiii

CHAPTER II LITERATURE REVIEW A. Definition of Translation Translation actually has a variety in meanings. Some linguists give meaning to the translation as Catford (1965:1) states in A Linguistic Theory of Translation that translation in a operation performed on languages: a process of substituting a text in a one language for a text in another. Whereas, Mildred Larson (1984:3) in Meaning Based Translation: A Guide to Cross Language Equivalence states: Translation consists of transferring the meaning of the source language into the receptor language. This is done by going from the form of the first language to the form of a second language by way of semantic structure. It is meaning which is being transferred and must be held constant. Only the form changes. Definition from Larson above, gives the emphasize, translation besides changing the form of language, from the source text into the target text, there is also one thing that should be considered, that the translation is also about transferring the message from the source language into the target language or in other hand the message can not be changed. In line with those both linguists, Nida and Teber (1974:12) also stated translating consists in reproducing in receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in term of style. xxiv

From the definition above, finally it can be noticed that translation is not only merely about changing the language from one language (ST) to another one (TT), but also about transferring the message within the source text into the target text and also how to adapt the style of the language. B. Translation Technique Translation technique is a procedure for analyzing and classifying how the equivalence takes place and be applied in every single linguistic unit. Translation technique differs from method and strategy. Method and strategy concentrate on the way to solve the problems in the process while technique concentrates on the observation to decide option general method. Newmark (1988b:81) mentions the difference between translation methods and translation procedures. He writes that, "While translation methods relate to whole texts, translation procedures are used for sentences and the smaller units of language". That notion clearly states that techniques occur in the micro units of the language, such as words, phrase, clause, etc. Thus, the translation technique is often used by researchers studying on translation products or the result of the translation as a re-observation. Technique describes the translation product and it can be used to clarify the types of the translation solution (Nababan, 2007:8). The following are the translation techniques that L. Molina and A. Hutardo Albir (META, XLVII, 4,2002:509) proposed: xxv

1. Adaptation. To replace the ST cultural element with one from the target culture, e.g., to change baseball, for fútbol in Spanish. Sincerely Yours becomes Hormat Saya. 2. Amplification. To introduce details that are not formulated in the ST: information, explicative paraphrasing, e.g., when translating from Arabic (to Spanish) to add the Muslim month of fasting to the noun Ramadan. This include SCFA s explicitation, Deslisle s addition. Footnotes are a type of amplification. Amplification is in opposition to reduction. 3. Borrowing. To take a word or expression straight from another language. It can be pure (without any change), e.g., to use the English word lobby in Spanish text, or it can be naturalized (to fit the spelling rules in the TL), e.g, gol, fútbol, lidir,mitin, goal becomes gol, executive becomes eksekutif. Pure borrowing corresponds to SCFA s borrowing. Naturalized borrowing corresponds to Newmark s naturalization technique. 4. Calque. Literal translation of a foreign word or phrase; it can be lexical or structural, e.g. Sekolah Dasar Negeri becomes State Elementary School. 5. Compensation. To introduce the ST elements of information or stylistic effect in another place in the TT because it can not be reflected in the same place as in the ST. 6. Description. To replace a term or expression with a description of its form or/and function, e.g., Jack-O-Lantern becomes hiasan Halloween dari xxvi

labu kuning yang sudah dipotong di bagian atas, dikorek isi dan diukir hingga berbentuk kepala makhluk yang sedang menyeringai 7. Discursive creation. To establish a temporary equivalence that is totally unpredictable out of context, e.g., the Spanish translation of the Rumble Fish as Hukum Jalanan. 8. Established Equivalent. To use a term or expression recognized (by dictionaries or language in use) as an equivalent in the TL, e.g., time is money becomes waktu adalah uang. This corresponds to SCFA s equivalence and literal translation. 9. Generalization. To use a more general or neutral term, e.g., Hinged door, folding door, sliding, and tambour as pintu in Indonesian. It is in opposition to particularization. 10. Linguistic Amplification. To add linguistic element. This is often used in consecutive interpreting and dubbing, e.g., Pleasure becomes Senang bertemu denganmu. It is an opposition to linguistic compression. 11. Linguistic Compression. To synthesizes linguistic elements in the TT. This is often used in simultaneous interpreting and in subtitling, e.g., Pleasse kindly here to have application enclosed becomes lamaran terlampir. It is an opposition to linguistic amplification. 12. Literal translation. To translate a word or expression word for word, e.g., She s cooking becomes Dia sedang memasak.in contrast to the SCFA s definition, it doesn t mean translating one for another. The translation of the English word ink as encre in French is not a literal translation but an established equivalent. Our literal translation corresponds to Nida s formal xxvii

equivalent; when form coincides with function and meaning, as in the second example. It is the same as SCFA s literal translation. 13. Modulation. To change the point of view, focus or cognitive category in relation to the ST; it can be lexical or structural, e.g., to translate I ll pick you up becomes kau akan kujemput. 14. Particularization. To use more precise or concrete term, e.g., to translate boiler becomes panci in Indonesia. This coincides with SCFA s acceptation. It is in opposition to generalization. 15. Reduction. To suppress a ST information item in the TT, e.g., the month of fasting in opposition to Ramadan when translating into Arabic. Reduction consists of two kinds: partial reduction (condensation) and total reduction (deletions). 16. Substitution. (linguistic, paralinguistic). To change linguistic elements for paralinguistic elements (intonation, gestures) or vice versa, e.g., to translate the Arab gesture of putting your hand on your heart as thank you. It is used above all in interpreting. 17. Transposition. To change a grammatical category, e.g., Perempuan kalau sudah kawin, jeleknya laki jeleknya kita becomes when a woman marries bad, life is going to be all the worse for her. sudah kawin (perfect tense) translated as marries (present), laki (noun) translated as bad (adj). 18. Variation. To change linguistic or paralinguistic elements (intonation, gestures) that affect aspects of linguistic variation: changes of textual tone, style, social dialect, geographical dialect, etc, e.g., to introduce or change xxviii

dialectical indicators for characters when translating for theater, changes in tone when adapting novels for children, etc. Translation techniques can not be evaluated out of context as justified, unjustified or erroneous; this denies the functional and dynamic nature of translation. A technique can only be judged meaningfully when it is evaluated within a particular context. Translation techniques are not good or bad in themselves; they are used functionally and dynamically in terms of: 1. The genre of the text (letter of complaint, contract, tourist brochures, etc) 2. The type of translation (technical, literary, etc) 3. The mode of translation (written translation, sight translation, consecutive interpretation, etc) 4. The purpose of the translation and the characteristics of the translation audience 5. The method chosen (interpretative-communicative, etc) (Molina and Albir, META, XLVII, 4,2002:509) C. OPERA C.1 The Origin of the Opera The word opera comes from Latin word opus means works or labor. It is a musical dramatic work in which the text is set to music and staged. Within the opera, the singers and the musician perform a dramatic work which combines the text which are sung called libretto. The texts of operas are sung, with singable text and stage actions nearly are always given xxix

instrumental accompaniment. Many operas also feature instrumental interludes (called intermezzi) and dance scenes, even extended ballets that interrupt the action. Opera then, is also considered as the union of music, drama and spectacle. It appears to have originated at Florence towards the end of the 16 th century and soon spread through the rest Europe until the end of 17 th century. At the beginning of the 18 th century, opera has dominated most of Europe. The spread of the opera was so fast around 19 th century, opera has reached its golden age. Then, major opera houses and production companies have begun broadcasting their performances to local cinemas throughout the United States and in many other countries. The Metro Politan first opened in 1883. Many of its performances are also shown live in movie theatre around the world. With the rise of recording technology, in the beginning of the 20 th century, opera was also performed on (and written for) radio and television. (Any sources) C.2 Opera in Translation The desire to make media available for people has been rapidly accepted and implemented by most countries. Opera, as one of the many audiovisual representations, also falls under the category of production which needs to be made accessible. Spaeth (in Oreo and Matamala, 2007:262) states performing opera in the source language or in the language of the audience has been a major discussion in the literature of the translation studies and references are found from fields as distant as music studies and as early as the beginning of the 20 th century. xxx

There are several modes of language transfer for opera libretto: the audience may hear the text in its original language and have a printed translation of the words; surtitles for live shows or subtitles for recorded performances may be provided; finally, the text may be adapted to be sung in a new target language. In the first instance, no specific restrictions govern the translation, which is in fact a literary translation. The drawback is that the target text has to be glanced at while watching the performance if the listener wants to check the meaning of the words as he or she hears them. In the second mode of transfer, words are not sung either, but there are restrictions similar to those experienced in subtitling. In addition, titles have to be synchronized with the music. The third option is an adaptation of the source libretto into a target language for live performance. From the translator's point of view, this is the most challenging, but perhaps also, the most rewarding experience. (Lucile Desblache) http://www.translatingtoday.co.uk/index.php?option=com_content&task=vie w&id=42&itemid=31 In line with Desblache, Nisato (in Orero and Matamala, 2007:262) also provides three possibilities in opera performance: performing the opera in its original language and provide the listeners with either synopsis or translated libretto, to perform in the original language and make use of surtitles, or to perform a sung translation of the work. xxxi

D. LIBRETTO D.1 The Meaning of Libretto Libretto (Italian libro, means book ), refers to the text of an opera or other staged musical work. The term sometimes also refers to the text of an oratorio or to a ballet scenario. http://encarta.msn.com/encyclopedia_761571461/libretto.html Still in line with that, Hoffman (2005:120) also states that the libretto is the text of an opera or oratorio. The Italian word means booklet. It originally referred to a small printed book that contained the words of an opera and that was distributed or sold at performance. In the libretto of a musical, the dialogue is called the book, and the song words, the lyrics. Hoffman (2005:120) states: Typically, when a composer decides that he wants to create an opera based on a certain subject or story, he asks a writer to draft a libretto. The librettist must take many factors into account, including the projected length of the piece, how it will be divided into scenes or acts, the numbers of the characters, and the needs for various solo arias and ensemble numbers. He must also carefully weigh the musical potential of the written words. Will their sound and rhythm make the suitable for singing? Do they suit the composer s style? It means that a successful libretto must be effective theatrically while also conforming to musical requirements. A few stage plays have been taken directly as librettos, but usually a libretto is an original work or a free adaptation of a play or novel. Libretto plays an important role as it has almost whole part of the opera. It means that to understand a story of the opera ones can not be left behind to understand the libretto. Like Stanislavski (1998:238-239) states: in the libretto every word is precious. That is why the characters must be given xxxii

words that stir them to action, not contemplation. Opera suffers for the very reason that one character sings and does not act, while the others on stage just look on. D.2 Translating Libretto: Reading and Singable Translatioon For the translator, translating libretto is not an easy matter. The translator should remember that although the libretto is in form of song or text being sung, the libretto also functions as the script dialogue. For that reason, the translator should consider several things, such as: 1. The translator should understand the libretto well. 2. The translation should preserve the meaning of the original libretto (song), considering the music 3. Considering about the music. As the music will give the impression about the piece. 4. Using the suitable words which fit to line and rhymes (for live performance). 5. The translated text should provoke the same feelings as the original piece and the main idea of the story must remain unchanged. http://encarta.msn.com/encyclopedia_761571461/libretto.html The first obvious difficulty in accessing an opera, both for the audience and the singers, is the language of the original. This is why libretto have been a translated bearing in mind the many functions they may serve. Sario and Okasanen (in Orero and Matamala, 2007:262-263) states when they are to be used as a working document by singers who want to grasp the meaning of the lyrics, translators sometimes offer a word-by-word translation xxxiii

of the libretto, a version which never reaches the audience. Yet some libretto translations are made exclusively for reading purpose and hence fall under the category of literary translations (Desblache, in Orero and Matamala, 2007:263). Whereas Burton and Holden (still in Orero and Matamala, 2007:263) name them straight libretto translations and they can be found as the printed matter on the boxes of vinyl recordings, CDs, DVDs, and programs. Another modality is the translation of the libretto in order to create what it has been coined as a singable version in the target language. These versions are produced in order to be sung and facilitate access to the opera when performed. The main challenge in this case is making the target text fit the many demands of both the target language and its format: the music. In order to fulfill these requirements, Low (in Orero and Matamala, 2007:263) proposes large doses of flexibility that so called pentathlon principle, a balancing of the five criteria: singability, sense, naturalness, rhythm, and rhyme. Whereas Apter and Herman (in Orero and Matamala, 2007:263) states music and words must fit. In addition, Apter (in Orero and Matamala, 2007:263) deepens in the use of rhyme along with the rhetorical devices such as assonance and alliteration. He also looks at the translator s toughest challenge: matching foreign rhythm, taking into accounts both the stress and the burden (the time it takes to say a syllable in normal speech). Beside that, Alonso Otero (in Orero and Matamala, 2007:263) proposes four directives to tackle translations: (i) to translate from the music score so all the stage instructions are respected; (ii) to respect, as much as xxxiv

possible, the rhythm imposed by the music, even though it may at the expense of the rhyme; (iii) to respect the poetical feeling, avoiding compensation by explanation; and (iv) to portray, when needed, the archaic tone, the social differences in the register of the vocabulary and in all the features of a text aimed for the stage. Eric Crozier (in Orero and Matamala, 2007:264) also advises to capture the spirit of the text, but to forget the source words. It is an advise that was indeed followed because many aspects of the original version could not be transferred: textual contrasts, thought out in collaboration with the composer to fit the music, particularly those between rhyme and prose; cultural references to proverbs, food, social structures, all essential to humour. E. MUSICAL FILM Gerald Mast (in Everett, 2008:308) states: the first task for any genre-based study of musical film is to distinguish them from those that are non-musical. Many movie theme songs have more musicals numbers, but not all of them are qualified as musicals. From that notion can be noticed that film can not be called as the musical movie just because it consists of many songs or music arrangements. Gerald Mast (in Everett, 2008:309) adds a play or film is a musical if its primary entertainment value and investment lie in the musical number themselves. It means that movie can be called as musical if the music, the songs and everything related to it can carry out the plot story of the movie, besides they are interwoven. xxxv

The musical film is a film genre in which several songs sung by the characters are interwoven into the narrative. The songs are used to advance the plot or develop the film's characters. The musical film was a natural development of the stage musical. Typically, the biggest difference between film and stage musicals is the use of lavish background scenery which would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater; performers often treat their song and dance scenes as if there is a live audience watching. In a sense, the viewer becomes the deictic audience, as the performer looks directly into the camera and performs to it. http://dictionary.babylon.com/musical%20movie F. FILM TRANSLATION Translating film is not an easy matter to do. Nida (1964:178) proposed the first step is simply to translate meaningfully and idiomatically the speaking-script, with some general attentions to overall corresponding length. This translation is then carefully edited by checking it against the film as it is being shown. The translation is then written out on film, which is synchronized with the picture, and the person who is doing the foreignlanguage dubbing speaks as he reads and watches the picture being shown. A film has two important elements that can not be separated i.e the text and the performance. It is impossible to see the film from the text only, or to see it from the performance only. The text and the performance are the main elements in a film since theatre consists of the dialectical relationship between both. (Bassnet, 1981:120) xxxvi

F.1 Subtitling A subtitles-translator usually has dialogue list that is a script of all the verbal contents of the film. He or she has to work from paper to paper first, but he or she still needs to watch the visual image completely to know the complete element of the text he or she is going to translate (Baker, 2001). Most television broadcasters demand a two-line of 60-70 characters to stay, which means that a line should consists of 30-35 characters (Gottlieb, 1997: Harvey et.al, 1997; Hatim & Mason, 1997; Nomes, 1999; Baker, 2001) or 40 keyboard spaces (Hatim & Mason, 1997). A single line subtitle requires at least 2,5 second and maximum 3 seconds, while a double line requires at least 5 second and maximum 6 seconds (Gottlieb, 1997: Harvey et.al, 1997, Hatim & Mason, 1997; Baker, 2001) Finlay (1997:81) proposes two solutions to translate a film, one is an extension of the use of the subtitles, such as had been used with extreme parsimoniousness in the case of the silent film, while other is the replacement of the original soundtrack by a new one in another language, making the original actors appear, as it were as ventriloquists. Nida (1964:178) states: there are tittles reproduced along with the picture sequence and exhibited immediately below the picture itself. Basic rules of the subtitling: à Three seconds are needed to read a line à A single subtitle showing not exceed two lines à A line of subtitles should not exceed twenty-five second xxxvii