Caríssim@s,
Estreamos hoje no blog da LBM uma série de guest posts mensais que, temos certeza, vocês vão adorar. É nossa forma de trazer outras vozes e experiências para nosso blog e contribuir para a disseminação de informação sobre legendagem e aumentar nosso escopo de discussão. Para o grande debute, ninguém menos que Sandra Schamas, pioneiríssima na legendagem, da época da chegada da TV a cabo ao Brasil. Nós nos conhecemos numa palestra que demos conjuntamente na Casa Guilherme de Almeida (clique aqui para ler o post pós-palestra), na qual reunimos nossas experiências de cunho e tempos diferentes para levar aos alunos da Casa uma noção da nossa área da tradução. Neste post, a Sandra nos conta como começou a legendar, como era legendar naquela época e como ela encara tudo isso. Coisa linda de se ver!
Sem mais delongas, senta que lá vem história.
***
Entre dezembro de 1990 e o primeiro semestre de 2003 morei em Miami, uma época rica e intensa da minha vida, uma experiência inestimável. Ter um emprego nine to five, andar de escarpin, meia branca e taiêr era meu sonho de consumo. Depois do green card muitas aulas de inglês e um aprendizado informal do espanhol falado nas ruas, fui me aventurar pelo mundo corporativo. Essa trajetória, devo dizer, foi cheia de empecilhos, dificuldades e diferenças culturais. Tentei, tentei de todo coração me acertar, porém, ao perder o trabalho em um banco e dar de cara com a depressão, percebi que era melhor parar de insistir e buscar novos cominhos. Foi então que um amigo me ligou perguntando se eu não queria traduzir textos de embalagem de lâmpadas de Natal, brinquedos, etc. Insistiu, disse que eu levava jeito, que era só uma experiência e acabei topando. E me encontrando. Organizei os textos num McIntoch antigão, logo depois comprei um IMac, azulzinho, transparente, fofo. Animada com o projeto, vi que gostava dessa eterna investigação que é traduzir e acabei, alguns meses depois, aceitando o desafio de traduzir legendas. Trabalhava como freelancer em um canal de televisão que enviava o sinal de TV a cabo para o Brasil, a HBO ainda não tinha o sinal em Miami, nem as outras empresas de cinema, então tudo passava pela Globecast Hero.
A primeira série que legendei era de um programa de fitness, em espanhol, e tudo que eu precisava saber o era nome dos músculos do corpo, além de ter uma paciência de Jó para marcar a legenda, acompanhando a contagem repetitiva do instrutor. A marcação de legenda era feita separadamente, o programa fazia com que as legendas corressem paralelamente ao filme. Lembro-me bem que, às vezes, à noite, eu ia até uma sala de controle, com uma quantidade enorme de telas e via os filmes passando, com legendas em vários idiomas. Fixava em algum filme que eu tinha marcado e isso era ótimo para checar se a marcação estava em tempo certo.
O treinamento de como fazer legendas era basicamente era o seguinte: uma explicação de como funcionava o sistema de computador, que era o chamado 20/20, o número de caracteres por linha, dar enter em cada linha, evitar pronomes e não usar muita pontuação. Nada de gírias ou palavrões, boa sorte, se vira!
As discussões não tinham fim e logo que um revisor foi contratado, a coisa ficou pior. Não havia dicionários online, o uso da Internet não era permitido no trabalho, não havia corretor ortográfico no programa, não havia tempo para pesquisas. Quando alguém me perguntava se eu queria alguma coisa do Brasil, pedia dicionários, livros do Professor Pasquale, livros de gramática, a arte de escrever bem, e por aí afora.
Havia a dificuldade da nossa própria língua, o português cuja gramática é bem chatinha, a gente não consegue decorar todas as regras e tem que consultar sempre. Além disso, escrever bem depende de prática, sempre, e nem todos tinham. A dificuldade da tradução por si só já complica. As questões culturais têm um grande peso também, os jargões, as gírias, as especificidades de cada nacionalidade. No fim, a gente sempre acabava aprendendo com nossos próprios erros, e os dos outros, em um eterno aprendizado.
Aprendi a traduzir do inglês e do espanhol, aprendi a marcar legendas, depois passei a revisar legendas ao mesmo tempo em que marcava. Entrava às duas da tarde, saía as onze da noite e, uma vez por semana, saía as três ou quatro da manhã porque, junto com outro tradutor, traduzia o script de dublagem para uma programa de uma hora chamado Discovery News. Era super interessante no começo, mas foi ficando chato, pois apresentava sempre o mesmo tipo de assunto. Nós fazíamos assim: dividíamos o texto, cada um traduzia uma parte e depois trocávamos os textos para revisão. No fim, líamos o texto como se fôssemos os dubladores para ver se havia lipsync, ou seja a sincronização com os movimentos labiais.
Quando passei a revisar legendas, logo entrei em contato com a empresa que fazia as traduções e, juntos, fomos escrevendo um manual para ter uma padronização e coerência entre tradutores, marcadores e revisores. Os produtores de cinema também passaram a ditar as regras, o que facilitou bem o trabalho.
As pessoas viviam me perguntando por que as legendas não eram completas, por que o personagem falava uma coisa e na legenda aparecia outra. De tanto explicar que há um limite de caracteres e uma porção de outras restrições de ordem estética para facilitar a leitura, fiquei achando que fazer legenda era um pouco parecido com fazer poesia tradicional, com métrica e rimas, o que também sempre gostei de fazer.
A linguagem da legenda está entre o português falado e o português escrito, e só isso já é um problemão. A começar por um simples “eu te amo”. Segunda pessoa. Geralmente se fala na terceira. Por um bom tempo essa declaração de amor ficou bem estranha: “ eu a amo”, “eu o amo”, “eu amo você”. Mas a língua é viva, vai se modificando com o uso, e o “eu te amo” finalmente parece que agora é aceito. Só para completar a lista de dificuldades, o inglês é bem mais conciso que o português, o que não facilita nada o trabalho do legendador.
O eterno dilema: se a legenda for muito grande, se tiver muito mais legendas do que a média, a pessoa não consegue assistir ao filme. Se as legendas são curtas, ou insuficientes, aparecem aquelas lacunas, e quem assiste acaba se perdendo.
A prática foi levando à proficiência, sempre interessada no assunto fui desenvolvendo cada vez mais esse meu lado Sherlock Holmes e a investigação é um hábito que considero muito saudável. O tradutor precisa ser um eterno desconfiado, um curioso de todos os assuntos.
Ainda no final dos anos 1990, a Florida International University – FIU – abriu um curso de Tradução e Interpretação e logo me inscrevi fazendo parte da primeira turma. Aprendi muito, foi muito produtivo, pois já trabalhava com tradução de legendas há algum tempo.
Gosto de pensar que cada legenda deve ser como um anúncio luminoso e precisa dar conta do recado. Quando alguém me diz que a legenda estava errada, eu desconfio. Porém, por hábito, continuo revisando as legendas dos filmes e programas que assisto e, às vezes, alguma coisa escapa. O tradutor é uma pessoa, não é uma máquina, e às vezes, pela quantidade e urgência de trabalho, o tradutor entra no piloto automático e algum erro pode passar. A mesma coisa o revisor. Além disso, devemos considerar que você pode saber muito bem inglês, pode ser um bom professor, mas pode não ser um bom tradutor. E ainda na área de tradução, vamos nos deparar com inúmeras especializações, tradução técnica, literária, da área médica, jurídica, de poesia, etc. Ainda bem, assim há espaço e trabalho para todos!
***
Para saber mais e tudo sobre a Sandra, acesse o site dela: http://www.sandraschamas.com.br/
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