Harold Pinter v slovenskem prevodu

This article examines the translation of Harold Pinter\u27s most notable stylistic peculiarities into Slovene, illustrating its main points with examples taken from his play The Homecoming. The findings demonstrate above all a marked degree of non-observance of the special verbal pattern (special cohesion) of the originals, a failure to convey Pinter\u27s special configuration of meaning (special coherence), and a disregard for internal unifying coincidences. It argues that the Slovene translations of Pinter rely mostly on traditional theories of meaning and of language norms, thus preventing the reproduction of those emotional and psychological actions of Pinter\u27s characters which are usually not expressed by means of the rhetorical, informative elements of his dialogue, but by its form and sonority, i. e. the length, strength, and level of articulation of verbal expression. This blurs Pinter\u27s famous logic of emotion, narrows the proverbial openness and conceptual uncertainty of his plays, and limits their potential vitality in translation. Taking into account current drama and theatre translation practices in Slovenia, i.e. the rarity of published drama translation and the depedence on a translated performance text for subsequent theatrical productions, the article argues that in such cases the drama translation should be retrospective, i.e. aiming at a maximum reconstruction of all relevant linguistic, stylistic, and textual properties of the original, leaving expressly subjective interventions in the text to the theatre practitioners.Članek preučuje prevod najbolj očitnih slogovnih značilnosti Harolda Pinterja v slovenščino. Svoja dognanja ponazarja s primeri iz igre Vrnitev. Ugotavlja, da slovenski prevodi Pinterjevih iger kažejo visoko stopnjo neupoštevanja značilnih besednih vzorcev (kohezije) in njihove ponovne uporabe (ponovne pojavitve) ter da ne upoštevajo značilne pinterjanske konfiguracije smislov (koherence). Ugotavlja tudi, da se slovenski prevodi Pinterja naslajajo predvsem na tradicionalno teorijo pomena in jezikove norme, s čimer preprečujejo poustvaritev tistih čustvenih in psiholoških odzivanj Pinterjevih dramskih značajev, ki jih avtor ne izraža s pomočjo retoričnih, informativnih prvin dialoga, marveč z besednimi oblikami in njihovo zvočnostjo: dolžino, poudarkom, stopnjo artikuliranosti, ponavljanji, itd. S tem krčijo pomen izvirnika in siromašijo prislovnično interpretativno odprtost Pinterjevega dramskega izraza. Glede na majhno število objav dramskih prevodov v slovenščini in na dejstvo, da prvi delovni prevodi dram služijo kot predloge vsem nadaljnjim uprizoritvam prevedene igre, se avtorica zavzema za retrospektivno prevajalsko stretegijo: pristop, ki omogoča najvišjo možno rekonstrukcijo vseh jezikovnih, slogovnih in besedilnih značilnosti izvirnika,in ki prepušča izrazito subjektivne posege v besedilo gledališkim strokovnjakom