Publicado em por Ligia Sobral Fragano

A Casa Guilherme de Almeida e a Legendagem

Na última quarta-feira, dia 24, eu estive na Casa Guilherme de Almeida para um debate sobre legendagem. A convite do mediador da mesa, Donny Correia, lá fui eu para a minha primeira palestra acompanhada do sócio-pai e do fiel terceiro membro da LBM, Lucas Mateus. Minha companheira de mesa foi a incrível Sandra Schamas, pioneira do ramo de legendagem, da safra que se encarregou de inventar a legendagem de filmes e séries quando a TV a cabo chegou ao Brasil.

O título da mesa foi “Legendagem: problemas e soluções”, e para ele eu separei alguns exemplos recentes de soluções criativas que arranjei para alguns pepinos tradutológicos que cruzaram meu caminho este ano. Neste post, eu gostaria de fazer algumas considerações para as quais não houve tempo, já que o mesmo foi curto para tanta participação e interesse de todos os presentes 🙂

***

Durante o tempo que tive para falar sobre mim, meu trabalho e meus exemplos, procurei passar para a audiência como traduzir foi parte integrante da minha formação não só profissional, como pessoal. Quem leu o post inaugural do nosso blog sabe como tudo começou, mas falta ainda reforçar como eu aprendi o meu inglês primariamente traduzindo e como meu aprendizado da língua foi aplicado à tradução durante muito tempo, até que outras atividades me levaram a outros usos e proficiências, retornando mais uma vez à tradução de forma mais completa. Portanto, ao meu ver, a superação desses problemas de tradução, que Pedersen chamaria de crisis point na tradução, sempre estiveram presentes na minha prática. O que não significa que eu sempre tenha tido sucesso em superá-los; na verdade, foi bem o contrário! Durante o meu desenvolvimento profissional, houve alguns fatores que atrapalharam bastante e foi preciso um amadurecimento conceitual contínuo para que eu pudesse encarar meus desafios linguísticos da forma mais adequada.

Um exemplo disso foi a total falta de desconfiança que me acompanhou durante um bom tempo. Um bom tradutor desconfia de tudo que vê no seu texto de partida. Eu sei que cansa só de ler, pensar que tudo pode ser uma pegadinha, mas é bem por aí mesmo. Toda combinação de palavras pode ter uma conotação a mais, pode estar ligada a um elemento da cena, pode ser uma gíria do Alasca (alguém aí sabe o que “sourdough” significa?).  Muitas vezes paro para pensar em como o ofício ficava quase impossível para um pobre-diabo-tradutor de décadas atrás com as poucas possibilidades de pesquisa. Como a Sandra contou na palestra, há alguns anos, quem tinha um nativo a quem recorrer ficava se achando depois! Mas hoje em dia não tem desculpa, não. Entre Google, Facebook, dicionários e corpus online, difícil não achar alguma coisa. Mas tem que fuçar. E desconfiar. Sempre.

Outra coisa que atrapalhou muito também foi a gramática. Durante tanto tempo, até bem recentemente, me preocupar com a gramática a ser empregada na legenda era algo que me consumia tanto que muitos dos crisis points que apareciam recebiam importância menor. O que é melhor, go HBO e adotar o português padrão até a morte (“Fornica-me?”) ou escrever como o povo fala? Bem, no final das contas, nenhum dos dois. A legenda é um texto híbrido, diagonal, um cruzamento do escrito com o falado. Assim, deve aceitar características de ambos. Lindo! Mas como fazer escolhas? Seguir a gramática padrão a todo custo é pobre, pode ser horrivelmente irracional e distante da realidade. Porém, querer reproduzir na legenda a forma como as pessoas falam gera problemas conceituais sérios. Reproduzir a fala de quem? Passando do inglês para o português ou vice-versa, já estamos descaracterizando a fala da personagem; se adotamos um estilo de fala semelhante, ele já é diferente. E, se quando você desconstrói imperativos e concordâncias pronominais e emprega gírias você acha que está escrevendo como o povo fala, é melhor abrir a cabeça. O Brasil é um lugar imenso e cheio de falas, e você estará fazendo uma escolha bastante localizada ao selecionar certos desvios da língua padrão achando que todo mundo fala assim. Difícil, né?

Bem, eu aprendi a fazer escolhas gramaticais de forma estratégica. Na LBM, temos tentado seguir um manual gramatical inventado pelo nosso bom senso linguístico e cultural, mas não baseado na nossa própria fala. Somos de São Paulo e não costumamos falar “Olhe para mim”, e sim “Olha para mim”. Mas sabemos que em outras regiões as pessoas usam o imperativo normativo e assim, a solução é ir com a regra, pois todos entendem e aceitam. Nesse caso, a gramática normativa desempata; é mais justo assim.

Mas em outros casos, deixamos a regra de lado para dar lugar a algo mais lógico e que ofereça maior orientação ao leitor das nossas legendas. O pronome “lhe” não se usa mais tanto, mas o problema não é só esse. Esse pronome causa muita ambiguidade de leitura. “Eu lhe amo”. Você ou ele? Ah, não dá. O Pasquale que nos perdoe, mas vamos ter que misturar as estações! Mesmo sem aplicar o tu como pronome do caso reto, usamos sim o “te” nas nossas legendas para designar segunda pessoa no caso oblíquo. Não é porque falamos assim, é porque, mais uma vez, todos vão entender.

Resolvidos os impasses gramaticais, que são muitos, pude me concentrar nos verdadeiros desafios, nos meus crisis points, e usar minha criatividade de forma mais fértil. No final das contas, a gramática não deve subir a um patamar mais elevado do que aquele que deve ocupar: o de uma ferramenta que nos ajuda e não algo a ser venerado e seguido a qualquer custo, seja na sua forma escrita ou falada.

***

Por fim, talvez o que tenha feito a maior diferença na minha prática tradutória foi adquirir mais confiança nas minha ideias. Para superar um crisis point, além de criatividade, é preciso muita coragem também. Superar um crisis point muitas vezes significa escrever algo na legenda que fará com que a mesma se destaque, tirando o tradutor da sua invisibilidade. O conceito do tradutor invisível é muito valorizado, diz-se que a boa legenda é aquela que nem se percebe. Dentro dessa lógica, é comum que tradutores de diálogos lavem duas mãos diante de piadas, trocadilhos e elementos monoculturais através de desambiguação ou até omissão. Acredito que a maior causa disso seja o medo de ser ridicularizado, de que o que se escreve seja notado pelos espectadores de forma negativa.

Fica aqui a minha recomendação: dê uma chance para as suas soluções, mesmo que pareçam ridículas, exageradas ou fora de lugar. Antes de descartá-las totalmente, dê a si mesmo a oportunidade de vê-las escritas na tela do seu computador, analisá-las de uma certa distância. Se não arranjar nada melhor, deixe lá, não apague. Quem sabe amanhã você não volta e descobre que já se acostumou com o que escreveu? Pouco a pouco, você percebe que é capaz de arranjar saídas para os seus crisis points. Afinal de contas, a tradução é sim um trabalho de autoria.

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PS: Agradecimento especial a Donny Correia e a CGA pelo convite e a oportunidade de novas reflexões. Leitores, não deixem de acompanhar a programação da Casa.

http://www.casaguilhermedealmeida.org.br/

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