earticle

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This paper mainly explores the translator aspect of original and licensed musical translation: who translate musicals, what their status, especially visibility, is, what process they take to do the translation and what they think are important when translating. To answer these questions, the researcher interviewed a well-known musical translator, a musical-actor-turned professor in the musical department at a university and staff in the musical industry, in addition to using the existing research and news articles. This study reveals that multiple entities – translator, music director, actors/actresses, and general staff- participate in the translation process and, thus, the translator’s visibility is low although an increase in the visibility has been witnessed recently. Musical translations go through continued revisions and modifications. With respect to surtitle translation, the translator uses a variety of emoticons, images, and font styles and sizes to best deliver the intentions of the author and the director in various theatre environments. In regards to licensed musical translation, different translators use different translation strategies. They sometimes even differentiate the translations of dialogues and lyrics depending on the features of individual actors. This study is meaningful in that it has expanded the research scope from licensed musical translation to original musical translation and from translation products to translation producers.