audiovisual medium.

Like the screen-

writer who uses the most precise lan-
guage available to him or her to guide
the future interpretation of the screen-
play, the translator should create a pre-
cisely written source text so that it
reflects as closely as possible the
totality of the screenwriter’s inten-
tions. And these intentions can only be
understood by the translator through
an awareness of the underlying dra-
matic structure of the work—char-
acter, plot and genre, audiovisual

Translating elements, and even, at times, psy-

chology. The following examines the

Screenplays
main challenges of this modality and
provides some hints and tips on get-
ting started.

By Christine Kretschmer Basic Layout

A screenplay is an industry docu-
ment and must adhere to a standard
It would be tempting to view layout, formatting, binding, and
screenplay translation as a sub-genre structure. Screenwriters tend to use
of literary translation. After all, many professional screenwriting software
screenplays are based on novels, are that determines automatically the
usually designed to tell a story, and font, point size, and page layout,
contain dialogue, descriptions, and including the width of the dialogue
even poetic language—all of which columns, capitalization of the head-
are commonly found in novels. ings, numbering of the scenes, length
However, there are several aspects of the lines, and the number of lines
that distinguish a screenplay from a on a page. This very precise format-
literary work and that have a bearing ting is aimed at predicting the run-
on its translation, both on the overall ning time of the finished film: one
approach the translator needs to take page equates to roughly one minute
and on specific translation choices. of screen time. The most commonly
In contrast to a novel, which is used software is probably Final
written to be enjoyed by the reader Draft, which allows users to choose
(the end user), a screenplay is the the American or U.K. format (the
blueprint for a film, and its translation latter is also used in the rest of the
will, either immediately or after addi- world). These formats differ in that
tional editing or rewriting, be retrans- American and Canadian screenplays
lated, or to some degree interpreted, are printed on 8.5 x 11 paper,
by the creative personnel involved in whereas U.K. and European screen-
making the film. Thus, the translated plays are printed on A4. Also,
screenplay is not only a target text, American screenplays use three
but simultaneously becomes a source screw pins in the script binding,
text for this retranslation into the whereas European screenplays use

The ATA Chronicle n January 2014

two. The producer or commissioner
of the translation will probably take
care of the binding, as the translator A screenplay is the blueprint for a film.
is likely to deliver the translation
electronically. There is, however,
one conundrum that needs to be
addressed before the translation these cases, all the target content tion. Hence, dialogue lines are usu-
process starts: the overall length. writer requires from the translator ally kept short and to the point—in
may be the totality of the work other words, they are highly edited
Length without any need to worry about the versions of spoken language. In her
Screenplays are usually 90-120 overall number of pages of the trans- book Creating Unforgettable
pages long, and the expectation is lated work. If, however, the work is Characters, Linda Seger compares
that they are tightly structured, so translated for the purpose of good dialogue to a piece of music
much so that Hollywood executives financing a film or television series, that has “a beat, a rhythm, a melody”
are known to flick through them to then there may be a good reason for and can be easily spoken.1 Each line
find certain events (such as inciting matching the page numbers of the of dialogue usually runs for no more
incidents, act breaks, and turning translation to that of the original. than two or three lines, and the trans-
points) on certain pages. It is com- Other reasons for translating screen- lator should take care to keep it as
monly acknowledged that transla- plays may be to seek permission for succinct as possible and to ensure
tions can expand or contract by up to filming in other countries, to translate that there is cohesion between the
20-30%, depending on the language screenplays of well-known films for exchanges. Seger compares good dia-
combination. Hence, the initial nego- publication in book form, or to facili- logue to a tennis match that moves
tiation between client and translator tate the work of creative contributors back and forth between the players,
should touch on whether or not page who are not fluent in the language in conveying “conflict, attitudes, and
numbers should be matched between which the project is filmed. While intentions. Rather than telling about
the original and the translation. If English is spoken by most film pro- the character, it reveals character.”2
they are required to match, then the fessionals, there are occasionally Good dialogue shows how a char-
translator needs to ask how to pro- complex co-production arrangements acter deals with a specific dramatic
ceed without creating unnecessary (usually to enable the financing of situation that has already been set up.
constraints imposed by the limited the film) that may result in the need The translator should be sure to
space that here stands for the defined for translations into one or several create dialogue that sounds authentic
running time. In subtitling, the languages within the context of and idiomatic in the target language,
viewing public has come to accept filming for cast and/or crew. and that reflects the speaker’s age,
that the time and special constraints social standing, and, very impor-
imposed on subtitles means that the Main Components tantly, any subtext conveyed, without
latter tend to be an edited version of The three key components of allowing the latter to become explic-
the film’s dialogue and a more or less screenplays are the scene headings, itly stated. Screenwriters try to avoid
acceptable compromise. However, it the stage directions (or scene dialogue that is “on the nose” (i.e.,
would be unwise to subject a screen- descriptions), and the dialogue. openly stating what their characters
play translation to potentially severe want). Translators of screenplays
editing, given its status as a source Headings: Scene headings are usu- should try to retain any ambiguities
text on which the work of the cre- ally numbered and capitalized, giving in the target text and to use explicita-
ative contributors to the film is information on the lighting condi- tion with great care.
based. Reducing the point size (in tions required (exterior/interior), the
agreement with the client) may be a location, and the time of day. It is Stage Directions: Arguably the most
better solution in such cases. worth bearing in mind that scene challenging aspect of screenplay
headings should be translated consis- translation is the translation of the
Why Translate a Screenplay? tently, as they may later be used to stage directions/scene descriptions.
There are a number of reasons a sort locations within film scheduling These tend to be written in short,
screenplay might be translated. One software. mostly active sentences in the present
reason may be that a writer in the tense that describe the action and
target country may wish to adapt the Dialogue: In film, screenwriters tend sounds in the most economical way
screenplay for that particular market, to follow the rule “show, don’t tell”: possible, and often in a kind of short-
or even the international market. This they try to tell the story through hand, but not necessarily in gram-
may require changing some of the visual means rather than relying too matically complete sentences. The
settings, characters, and storylines. In much on dialogue to impart informa- translator should replicate ·

The ATA Chronicle n January 2014 25

Translating Screenplays Continued

the syntax of these short sentences,

as they impart information in a
specific order that parallels the
intended visual language of the film.
The translated screenplay is not only a target text, but
For example, in Anthony Minghella’s simultaneously becomes a source text for the film’s
The English Patient, the sentence
“An officer, German, focuses his retranslation into the audiovisual medium.
field glasses.” should not be trans-
lated as “A German officer focuses
his field glasses.”3 This is because the
source text intends the audience to desert on a stretcher and can only adaptations from novels to screen-
receive the information in small see fragments of the world around plays involve the translation of
chunks. For example, we see the him because his face is covered by descriptions into actions, and for
image of an officer, and only a split a protective mask: “His view of the screenwriters, action shown on
second later we realize that this world is through slats of reed … He screen is the currency of their
officer is in fact German (the glimpses camels …” etc. The craft. Hence the translator needs
enemy), and (worse) that he focuses screenwriter has created a very to pay particular attention to the
his field glasses in order to find our clearly defined image here that sug- verbs used and should try to repli-
protagonist. Thus, this small sentence gests how the scene should be shot cate the full meaning of the orig-
contains three separate pieces of and possibly also edited, and seeing inal action as closely as possible.
information that build up the drama the action from the English Patient’s For example, in the adaptation of
by slowly creating anticipation in the point of view means that we iden- The Lion, the Witch and the
audience (and the reader). The fol- tify with him as our main character. Wardrobe, the early scene during
lowing are some other important ele- an air raid describes how a family
ments of stage directions the • Maintain Capitalization: Stage rushes to the shelter after the siren
translator needs to keep in mind directions usually contain some “blares” (it does not just sound),
when working on a screenplay. words that are capitalized, which and the characters grab (not just
the translator must replicate. take), pluck (ditto), rush (not just
• Maintain Order of Information: Capitalized words roughly fall into run), scramble, shove, shepherd,
The order in which information is four categories: 1) all of the charac- yank, and tumble—all of which
given can also define an image. For ters’ names are capitalized when the suggest the pacing of the action,
example, in The English Patient, the character is first introduced, 2) any the psychological state of the
sentence—“A web of scars covers important or main images are capi- characters, as well as the chaos
the Patient’s face and body”— talized, 3) as are important sounds, surrounding them.4 Verbs can also
creates a visual statement. It should and 4) camera instructions. In The be used to describe the characters
not be translated as “His face is English Patient, the description in the screenplay efficiently. For
covered by a web of scars,” as the picks out a “SILVER THIMBLE” example, the reader will draw dif-
focus would then shift onto the fac- from a larger image and emphasizes ferent conclusions about the char-
tual statement of where the scars are it through capitalization. This acter’s personality or the story at
and lose the focus on the image of thimble is important later on in the that point, depending on whether
the scars themselves. In this case, narrative as it comes to represent Johnny marches, saunters, or shuf-
there are two reasons for this. First, the intimacy and connection fles into the office, so these
screenwriters often use so-called between the main character and his actions need to be portrayed with
“active questions” to arouse lover, Katharine. Capitalization sig- the same precision.
curiosity in the viewer, and the nals to the director, cameraman, and
unusual image of the web of scars editor (as well as the prop person) Technical Elements
suggests a close-up before revealing that this object must be seen clearly The technical language contained
the remainder of the information— by the audience, either through a in screenplays relates to different ele-
that the scarred face belongs to the close-up, careful lighting (the ments, including camera instructions,
English Patient. Second, in this par- thimble glints in the sun light) or, special or visual effects, sound or
ticular scene, we see the world from most likely, both. voice-over, or the pacing of the
the point of view of the English action. For instance, the words “A
Patient, bearing in mind his psycho- • Maintain Full Meaning of Verbs: BEAT” usually signify a short pause
logical and physical state. Having Another very important aspect of (either in the delivery of dialogue or
sustained severe burns in a plane stage directions is the use of pacing of the action) to allow the
crash, he is being carried across the verbs. It is commonly said that audience to assimilate important

26 The ATA Chronicle n January 2014

Figure 1: Example of narrative structure from The Hero’s Journey (courtesy of
http://thewritersjourney.com/hero%27s_journey.htm).

THE HERO’S JOURNEY

1. Ordinary World
12. Return with Elixir
2. Call to Adventure

ORDINARY WORLD 3. Refusal of the Call

11. Resurrection
4. Meeting the Mentor

5. Crossing
10. The Road Back the Threshold

6. Tests, Allies, Enemies

9. Reward,
SPECIAL WORLD
Seizing the Sword
7. Approach

8. Ordeal, Death & Rebirth

information. Special effects (SFX, fall differently, then the translator thing, enters into conflict with an
usually created on set) or visual can omit or move them accordingly. antagonist to get it, and changes in
effects (VFX, usually created during the process of obtaining it before the
post production) are marked as such, Screenwriting Theory drama is resolved at the end. The
as are voice-overs (VO) and the off- Screenwriting theory has estab- expectation is that Act I and Act III
screen sounds of dialogue (OFF). In lished a number of rules that help each represent 25% of the screenplay,
terms of camera instructions, screen- screenwriters shape their work to while Act II represents 50%. For
plays vary depending on whether conform to audience expectations. example, Christopher Vogler’s model
they are American or British. The structure created will have a in his book The Hero’s Journey
American screenplays make liberal bearing on what the character does describes the different stages of the
use of camera instructions such as and what he feels at each point of the character’s journey and how these
“PAN DOWN,” “CLOSE ON,” etc., story, and hence also have an impact relate to the three acts.5 This journey is
whereas U.K. screenplay conventions on translation decisions. A basic represented visually in Figure 1 above:
do not allow these. Instead, U.K. understanding of screenwriting the top right quadrant segment repre-
screenwriters are taught to suggest theory is very helpful for translators sents Act I, the bottom half represents
shots indirectly though descriptions so that they can decode the subtext of Act II, and the top left quadrant seg-
of images. An example of this is the each scene. ment represents Act III. Essentially, in
close-up suggested by the description A screenplay usually tells the story the scenario depicted in Figure 1, when
of the scarring on the face of the of a main character (the protagonist). the film begins, we meet the hero in his
English Patient mentioned earlier. It is divided into three acts: Act I or her ordinary world, then there is an
Other terms include “FLASHBACK” (set-up), Act II (confrontation), and “inciting incident” (here the “call to
and “(CONT’D)” for “continued” Act III (resolution). Screenwriters adventure”). Initially, the hero refuses
(this is usually inserted automatically often speak of the “character journey” this call, but then meets a mentor and
by the screenwriting software at the or “character arc” when they describe finally crosses the threshold into new
end of each page). If the page breaks how the character first wants some- territory (the “special world” ·

The ATA Chronicle n January 2014 27

Translating Screenplays Continued

of Act II). There the hero faces tests

and meets allies and enemies, then
approaches the innermost cave where
he or she faces an ordeal, followed by
death and rebirth, and receives a
reward (e.g., the hero seizes the
sword), and is then on the road back to
the ordinary world. Following the final
showdown and resurrection, the hero
returns with the elixir (or the hero’s
new knowledge/wisdom).
Each moment within the main char-
acter’s actual and psychological
journey in the narrative can be related Screenwriting Resources
back to where it is found in the screen-
play and vice versa, and therefore it Software Websites for Screenplays
can matter enormously to the translator
whether the word or phrase to be trans-
BBC ScriptSmart Gold The Daily Script
lated is found: 1) at the beginning of
the screenplay, where we meet the http://scriptsmartfile.weebly.com www.dailyscript.com
character in his or her everyday setting;
2) at the beginning of Act II, when the Celtx Drew’s Script-O-Rama
character has surrendered to the new www.celtx.com/index.html www.script-o-rama.com
challenge and has begun the journey
(which may mean that the character is
already in crisis to some extent, or Final Draft Movie Scripts and Screenplays
there is a crisis brewing without it nec- www.finaldraft.com www.moviescriptsandscreenplays.com
essarily being acknowledged among
the characters); or 3) at the point Movie Magic Screenwriter Simply Scripts
approaching the climax, where every- www.screenplay.com/p-29-movie- www.simplyscripts.com
thing is out of control and the character
magic-screenwriter-6.aspx
struggles to overcome the obstacles to
his or her goal in a final showdown.
Key to making the right translation
decisions is an understanding of the
character’s psychological state and the
subtext in each scene, so that the trans-
lation choices reflect the choices made software packages such as Celtx or 3. Minghella, Anthony. The English
by the writer and strengthen rather than BBC Script Smart Gold, but Final Patient: Screenplay (Mirage
weaken the established structure. Draft offers a free trial version for the Productions, 1996),
first 30 days. http://bit.ly/amazon-English-
Getting Started Although the challenge of translating Patient.
So now that you have a rough idea a screenplay may sound daunting given
of what screen translation involves, the many technical aspects, it is ulti- 4. Markus & McFeely. The Hundred
how do you get started? Translators mately creative, rewarding, and enjoy- Year Winter: Screenplay (Walden
entering this field should begin by able work, and if you are offered a Media, 2003),
finding screenplays in their source and project, well worth doing. www.dailyscript.com/scripts/
target language(s), many of which are Chronicles_of_Narnia.pdf.
available for free on the Internet. The Notes
use of parallel texts is the best strategy 1. Seger, Linda. Creating 5. Vogler, Christopher. The Writer’s
to ensure the accurate translation of Unforgettable Characters (Henry Journey: Mythic Structure for
technical terms. Translators can also Holt and Company, 1990), 146- Writers, 3rd Edition (Michael
search the latter individually on the web 147. Wiese Productions, 2007). n
or look at film school websites, which
often provide useful explanations. 2. Seger, 147.
There are a number of free screenplay

28 The ATA Chronicle n January 2014