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Surtitles and the multi-semiotic balance

2020
Abstract When surtitles were first introduced, in 1982, they were intended to make opera accessible to a larger audience. They fulfilled the basic requirement of maximum comprehension, minimum distraction.
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A STUDY ON THE AUDIENCE RECEPTION OF THEATRE SURTITLES: Surtitling in a Francophone Minority Context in Canada and the Language Learning Potentials of Theatre Surtitles

2017
This mixed-methods study focuses on the audience reception of theatre surtitles in a Francophone minority theatre context in Western Canada at L’UniThéâtre in Edmonton, Alberta. The main objective of this multifaceted research was to measure the perceptions of and reactions to English surtitles according to the participants’ first language (French L1 ...
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The tyranny of the tool: surtitling live performances

Perspectives, 2013
Surtitling is a complementary communication system that renders the verbal utterances taking place on stage into a written format and makes this accessible to members of the audience. Beyond the decisions of the professionals involved in the surtitling process, many of the characteristics related to surtitling content and its format are determined by a
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Surtitles take the stage in Franco-Canadian theatre

Target. International Journal of Translation Studies, 2013
Faced with the need to expand their audience, small Franco-Canadian theatre companies are experimenting with various on-stage translative strategies, such as surtitles, to reach audiences with diverse linguistic and cultural profiles. Not only do they explore their bilingualism in plays that incorporate Canada’s two official languages, they enhance the
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Reception, text and context in the study of opera surtitles

2007
Opera surtitles have not received much attention within Translation Studies – not even within the field of multimedia translation, in which they belong – and it is the purpose of this paper to deepen our understanding of this translation type. The communicative context closely determines textual strategies for surtitles, which are
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Surtitling Puppet Performances

2004
In surtitling research, attention is usually directed to the linguistic dimension of texts alone, while aspects of visual and acoustic message have often been disregarded. This paper intends to explore the contribution of image and sound to the practices that adjust surtitles to the needs of a particular performance.
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Experiments in Surtitling

2023
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New Paths in Theatre Translation and Surtitling

2023
Loukia Kostopoulou, Vasiliki Misiou
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