臺灣外語影視節目中文配音翻譯實務初探 ：從「聲畫同步」 原則出發

Abstract

臺灣播出配音外語節目已有數十年，配音翻譯研究也愈加受到關注，但主題多關於翻譯改編、創譯（transcreation）、全球在地化（glocalization）等，尚無專以配音「聲畫同步」（synchronization）原則為主題的研究。

本研究以Whitman-Linsen（1992）與Chaume（2004，2012）的聲畫同步類型及其翻譯策略為基礎，以訪談法、觀察法輔以文本分析，將現有理論與臺灣配音翻譯實務相結合，歸納出以聲畫同步原則為出發點的中文配音外語節目翻譯策略，亦嘗試探討臺灣配音譯者工作情形，期使學界更加了解配音翻譯的實際工作情形，亦提供譯者工作上的參考。

本研究發現，為達成嘴型同步（phonetic synchrony）、動作同步（kinetic synchrony）、說話時間同步（isochrony）等類型的聲畫同步，在臺灣配音翻譯實務上需考慮情境、角色個性與情緒、畫面訊息等因素。此外，臺灣的配音譯者因案主指示不同，有數種工作型態。臺灣配音譯者除需具備語言能力，可能也需學習「數嘴」等配音的實務技能，以求因應不同工作型態。

Decades have passed since the appearance of dubbed foreign TV programs in Taiwan. More and more dubbed TV programs and genres have been studied with the focus mainly on adaptation, transcreation, glocalization, etc., but the study on voice-image synchronization rules affecting dubbing translation is still absent.

This study, based on Whitman-Linsen (1992) and Chaume’s (2004, 2012) theories, attempts to formulate comprehensive and systematic translation strategies for dubbed TV programs that satisfy voice-image synchronization rules in order to help dubbing translators in Taiwan, as well as to acquaint the academia with the latest translation practices in the industry. Data is drawn from interviews with practitioners (translator, translation proofreader/dialogue writer, voice talent/dubber), observation, and text analysis of translation and dubbing scripts.

Results show that principles and strategies taken in Taiwan for achieving phonetic synchrony, kinetic synchrony, and isochrony may differ in considerations of context, character’s personality and moods, and reference from picture. Tasks for dubbing translators in Taiwan may differ, too, depending on requests from clients. Dubbing translators in Taiwan may need not only SL& TL proficiency, but also “mouth-counting”, a means dubbers use to measure the length of lines, in order to cope with varied tasks from clients.