WAYS TO TRANSLATE COMEDIES FROM ENGLISH INTO KAZAKH USING THE EXAMPLE OF THE TV SERIES "GIRL MEETS WORLD"

ABSTRACT

The translation of comedy films is a particularly difficult task in the field of transcultural communication. This article examines the key aspects of the translation of comedy films, paying special attention to the methods and strategies that translators can use to preserve the comic effect of the source text while respecting the cultural adequacy of the translation.The purpose of the article is not only to identify the problems faced by translators when working with comedy content, but also to offer practical solutions to improve the quality and accessibility of comedies for an international audience.

Keywords: translation theory, original text, cultural specifics, jokes, humor, translation, culture, Kazakh language, comic effect.

Humor can be challenging for translators, as it is often considered an example of "untranslatability". Diot (1989) describes this phenomenon as “When it comes to translating humor, the operation proves to be as desperate as that of translating poetry”. Relative or absolute untranslatability can be linked to cultural and linguistic differences. [1, p. 149]

A constant observation regarding humor communicated through language is that there are two main types of textual humorous works. Referential (or conceptual) humor relies on language to communicate some meaning, such as a story, description of a situation, or event, which is the source of the humor, regardless of the medium used to communicate it. On the other hand, verbal humor depends on the specific words and language used to express the humor. This type of humor can use idiosyncratic features of language, such as words that sound similar or sentence structures that are ambiguous. [2, p. 34]

One of the main problems in translating comedies is the transmission of wordplay, including puns, punches and allusions. Such language games are often based on the multilevel linguistic properties of the source language and require the translator not only to know the language, but also to be creative in order to create a similar effect in the target language. It is often necessary to move away from literal translation in favor of adaptation, which can better convey the comedic effect while maintaining cultural adequacy.

As Zabalbeascoa, Patrick said. "Firstly, if excellent solutions can be found or have already been found, the translator will greatly benefit from the fact that the relevant examples will be available in any collection, reference book or database; the closer the examples are to the task, the better. Secondly, translators should be fully aware of the consequences of considering the entire text as the most important unit of translation and be able to use the context-dependent and purposeful nature of translation.; This requires them to understand how and why there may be many different ways to translate the same source text. Thirdly, different types of jokes and other elements may require individual strategies and solutions, although the translator will try to find a common thread that will give the target text consistency and a clear purpose." [3, p. 235-237]

The complexity is also increased by the need to take into account cultural references. Jokes based on culturally specific knowledge, such as historical events, popular personalities, or local traditions, may be incomprehensible to audiences in other countries. In this case, translators need to either find analogues in the culture of the target language, or create new jokes that can convey a similar comic effect.

In addition, intonation and manner of speaking play an important role. The comedic effect is often achieved due to the peculiarities of pronunciation, accents and intonations, which are difficult to adequately convey when dubbing or creating subtitles. This requires of translators not only linguistic accuracy, but also acting skills to recreate the nuances of speech that can cause laughter in the target language.

Those aspects of comedy cinema that are associated with visual humor are also subjected to additional difficulties. Some visual jokes can be understood without words, however many of them require localization of text elements such as signs, posters or letters visible on the screen. In such cases, translators have to not only translate the text, but also provide its visual design, which would preserve the comedic effect within another cultural environment.

The modern entertainment industry is often faced with the task of adapting comedy content for an international audience, taking into account the globalization and internationalization of the media space. Expanding access to foreign films and TV series through streaming platforms increases the pressure on translators, as it requires them to take an even more subtle approach to localization of content, while maintaining its attractiveness to a diverse audience.

Scientific research in the field of translation also highlights the importance of creating specialized manuals and trainings for translators working with the comedy genre. Such materials can help develop methodologies that take into account the specifics of humor and its perception in different cultures. This may include analyzing typical errors in the translation of humor, studying the psychological aspects of the perception of comic content by different audiences, and developing strategies for translating complex humorous elements.

Komissarov, a professor and scientist who has made significant contributions to the theory and practice of translation, has developed his ideas over many years of research and practice. His approaches and concepts are actively used in educational practice and in the training of translators. Vladimir Komissarov's theory of translation [4, p. 253] covers many aspects that can be applied to the translation of comedy films, although Komissarov did not focus solely on humor or comedy in his works. However, his ideas on semantic equivalence, functional approach and communicative competence of a translator can be especially useful when considering the specifics of translating comedies.

Komissarov emphasizes the importance of conveying the meaning of the source text in translation. In the context of comedies, this means not only accurately conveying words, but also maintaining a humorous effect that makes the audience laugh. The translator needs to find a way to express a joke or comic situation in another language so that it is understandable and funny to a foreign audience, while maintaining the spirit of the original. Applying Komissarov's theory to the translation of comedies, translators should strive not just for lexical accuracy, but to convey the general impact of humor, while maintaining functionality and the socio-cultural context in which humor has its effect on the audience. This approach requires creativity, a deep understanding of both cultures, and a willingness to adapt the content to achieve the desired effect in translation.

The translation of comedy films into Kazakh presents unique challenges and opportunities, as Kazakh culture has its own characteristics that must be taken into account for the successful localization of humorous content.

One of the key aspects in translating comedies into Kazakh is the need to adapt culturally specific jokes and references. Comedies often contain humor based on the cultural, social and political characteristics of the country of origin, which may be unknown or not understandable to the Kazakh audience. In such cases, translators are faced with the task of either finding analogues in Kazakh culture, or creating new jokes that will be relevant and understandable to the local audience.

In addition, the accuracy of the translation of idioms, slang and wordplay is important. The Kazakh language is rich in expressive phraseological phrases that can be used to replace English idioms in order to preserve the sharpness and dynamism of dialogues in comedy. This requires the translator not only to have deep knowledge of both languages, but also to be creative in their application.

In addition to language adaptation, it is also important to take into account the values and norms of Kazakh culture. Humor that may be perceived as offensive or overly explicit should be adapted in such a way as not to cause negative reactions from the Kazakh audience. This applies to jokes about family, gender relations, nationality and other socio-cultural aspects. It is also necessary to take into consideration the peculiarities of the Kazakh media space, including the legislative framework regarding the content that can be broadcast in the country. Kazakhstan, like many other countries, has its own laws and regulations regarding film production and public information, which must be taken into account when localizing foreign content.

Ultimately, the successful translation of a comedy film into Kazakh requires not only translation skills, but also a deep understanding of cultural contexts, as well as the ability to creative and cultural mediation. This allows you to create a product that will delight and surprise the Kazakh audience, while maintaining the spirit and zest of the original.

V.E. Gorshkova approaches the theoretical description of the film dialogue from the standpoint of theory, more precisely, theories of the text. One of the goals of her work is to substantiate the status of the film dialogue as a special type of text and to establish its typological features.

This approach seems to be quite justified, given that the cinema dialogue, with all the originality of its structure and the context in which it unfolds (video sequence), is a speech work, that is, a text, with all the properties inherent in the text. [5, p. 15]

In this scientific article, we shall illustrate examples of translation of some comedic moments from the TV series "Girl meets world" which has not been translated into Kazakh.

"Girl Meets World" is an American television series, which is a continuation of the popular 90s TV series "Boy Meets World". It contains many humorous scenes aimed at a family audience. Jokes in the series are often associated with cultural and linguistic peculiarities, which presents certain challenges in translation.

Maya Hart's joke from the TV series "Girl Meets World": "I got a F? How do you even get a F in art? What did I do, draw a picture of a failure?" reflects her confusion about the grade she received and uses humor to express her frustration. Let's look at how this joke is built and why it is effective:

Analysis of the original:

The beginning of the joke: "I got a F?" - starting with a question immediately attracts the viewer's attention, because an explanation or continuation is expected that will help to understand the context.

Thought development: "How do you even get a F in art?" - Maya wonders how one can get such a low grade on a subject that seems subjective and allows for a wide range of creative expressions. This question highlights the absurdity of the situation.

Climax: "What did I do, draw a picture of a failure?" - here Maya uses a play on words, imagining that her drawing could be a literal depiction of failure. This part is the culmination of the joke, as it introduces irony and self-irony, showing how self-critical she is about her failure in art.

Why the joke is effective:

Self-irony: Maya uses self-irony, which makes the joke softer and more attractive to the audience, as it seems more selfless and honest.

General identification: Many students may identify with the situation of receiving an unexpectedly low grade, especially in a subject that seems subjective, like art.

Humor from the absurd: Using the absurd to present oneself as an artist who could paint a "picture of failure" creates laughter through exaggeration and surprise.

Possible difficulties in translation are a play on words: "draw a picture of a failure" in English plays on two meanings of the word "failure" (failure and loser). When translated into other languages, it can be difficult to keep this wordplay without losing humor or having to add explanations.

This joke illustrates well how the humor in "Girl Meets World" works on several levels, providing entertainment and reflecting real school experiences through the prism of comedy.

We translated Mai Hart's joke into Kazakh as follows: "Мен жаман баға алдым ба? Өнер пәнінен жаман баға қалай алуға болады? Мен жамандықты шақыратын суретісалдым ба?" This transition is based on the main idea of the original joke, including the introduction of an increase in obtaining a low rate and ironic preference for the maintenance of your work. One way is to say that the key game words, as in the English variant, can not be effective in the Kazakh language, and will require additional adaptation or adaptation to the comedic effect.

Another example: Maya Hart's joke is "I don't need a babysitter. I need a witness!" “Маған күтуші емес, куәгер керек!” — a good example of her witty and slightly cheeky character. Let's look at the details and features of this joke:

Context

This phrase can be said in a situation where Maya expects to find herself in some difficult or funny situation, and she needs someone who can confirm this or even protect her. She doesn't need a babysitter to look after her, but rather a witness who can see what's going on.

Joke Analysis

Wordplay: The use of the words "babysitter" and "witness" creates a contrast between what is usually expected of an adult looking after a teenager and Maya's real need. She reverses expectations, pointing out that the situation goes beyond the usual childish behavior.

Expression of independence and character: Maya is often presented as a strong and independent character who strives to manage her own problems. This joke highlights her self-sufficiency and wit.

Comedic exaggeration: The idea that she needs a "witness" instead of a babysitter is an exaggeration that enhances the comic effect. This makes it clear that upcoming events may be so ridiculous or serious that ordinary supervision will not be enough.

This joke perfectly illustrates the style of humor in "Girl Meets World", where the characters often use language and turns of speech to create comic effects appropriate to their characters and situations in the series.

Ultimately, the successful translation of a comedy film from English into Kazakh requires not only translation skills, but also a deep understanding of cultural contexts, as well as the ability to creative and cultural mediation. This allows you to create a product that will delight and surprise the Kazakh audience, while maintaining the spirit and zest of the original.A successful translation can significantly increase the success of a film in the international arena, making it accessible and understandable to viewers from all over the world.

Reference:

1. Vandaele, Jeroen. “Humor in Translation”. In: Perspectives: Studies in Translatology, 2010. -149 p.
2. Chiaro, Delia (Ed.). “Translation, Humour and Literature: Translation and Humour” Volume 1. Continuum, 2010.-34 p.
3. Zabalbeascoa, Patrick. “Translating Jokes for Dubbed Television Sitcoms.” Target, 1996.235-257 p.
4. Komissarov, V. N. – Theory of translation (Linguistic aspects) / V. N. Komissarov [Text]: Textbook for the institutes and faculty of a foreign language, M.: 1990 – 253 p.
5. Gorshkova, V.E. "Translation into cinema ".2006 -15 p.