Análisis del doblaje de Alicia en el País de las Maravillas

Resum: En estas páginas se recogen y analizan los fragmentos más interesantes del doblaje al castellano de Alicia en el País de las Maravillas desde una perspectiva teórica y descriptiva. Se descubren así la domesticación y adaptación como principales técnicas de traducción y la ausencia de un único método de traducción.

Despite its popularity and impact in dubbing style and techniques, Disney’s animated adaptation Alice in Wonderland is an almost ignored film in Translation Studies and Didactics. In Spain, dubbing is also the main modality of Audiovisual Translation and it requires special skills from the translator, since two channels (acoustic and visual) carry the semantic information. The purpose of this paper is to describe these special skills and specifically to find out the main techniques that translators of 1951 Alice in Wonderland employed to solve translation problems related to the genre, audience and language of the film and target culture. A more general objective is to determine whether a specific and regular method of translation was carried out. In order to cover these points, two procedures are taken: a theoretical one, which provides the basis of dubbing, and an analytical and descriptive one. The body of the paper presents a descriptive analysis of the most conflictive fragments from the dubbed version in comparison with the original one. Cultural factors, wordplays, intertitles, songs and neutral Spanish are the five translation problems analyzed. Results show that, due to the age of the target audience, adaptation, domestication and explication were the main techniques employed by the translators. Even though there is not a regular translation method or technique neither in this film nor in the Disney Classics, the main objective is to produce a similar effect in the target audience. That is why fidelity to the original text is usually sacrificed. Further implications of this paper have to do with the canonization of this dubbing, which, despite technological and economic restrictions, had and still has recognition in the whole Spanish-speaking area.