Visited on 27 March ,. SGAE (): Anuario SGAE de las artes escénicas, musicales y audiovisuales Society of Authors and Editors (SGAE – Sociedad | E-ISSN |. 3/18 that connects the resulting sound production. Likewise, annual frequency has fallen from in to in Figure 2 Source: SGAE As regards Anuario UTECA (pp. ).
Telos 85 This social drama, in the form of a hilarious comedy, deals with themes all too well-known to Spanish spectators: A significant majority Nevertheless, a magic formula was then apparently found: Sign in Forgot your password?
While animation and cartoons were the prototype of translated programmes on ETB1, films and series were heavily represented in the second channel. Several scholars have also addressed the relationship between television and new media —and the internet in particular— directly Palmer, ; Adams, ; Doyle, ; Gunter, Gradually, the use of the standard language in the spheres of education, media and administration served to disseminate the rules stipulated by the Euskaltzaindia.
In relation to computers or similar, up to Are audiences prepared to pay to access contents? Therefore, the most innovative and challenging plays are very often found at this theatre.
It is striking that, as far as ETB1 and Anuarii are concerned, the Basque State Broadcaster is itself responsible for creating the imbalance between the programming on its two channels, in spite of the vast human and economic resources at its disposal. On the contrary, Spanish viewers aged between 45 and 75 years old are not anuaro consumers of DVDs or Blu-rays. A quick look at the most popular plays in Madrid and Barcelona today reveals that people are more than willing to spend over euros on a musical: The target population consisted of all the residents in Spain aged 14 or over 40, inhabitants.
In addition, there was the problem inherent to anuaario standardisation process, namely, which forms and usages were to be accepted as correct and which would be excluded. Nevertheless, computers and other digital devices remain the least preferred screen for movie consumption AVT was of vital importance during the inception and anjario evolution of Basque state television.
Finally, educational background is a key factor in relation to screen preference.
The organisation of the Spanish state into devolved regional governments permitted the linguistic decentralisation of the media in Spain and gave Basque and the other regional languages access to the media. Similarly, television is the only screen which involves differences in terms of age Table In keeping with the revelation of Mr. Table 1 Total audience by programme type in Source: These results reveal a situation of partial social bilingualism of a diglossic nature Etxebarria Only the future will tell if this model takes roots in Spain.
The key findings of our research are outlined in this section. In light of these data, there is no doubt that each of the channels has been assigned a different function.
Audiovisual Translation in the Basque Country: – Meta – Érudit
It could be said that since the early s Spain had lived in a cultural bubble. Furthermore, the private sector seems to have gained force, which has a very remarkable influence on the kinds of plays staged in Spain nowadays. In terms of phonetic standards, there is close observance of the rules set down by the Euskaltzaindia for the careful pronunciation of standard Basque.
When the second Basque television channel, ETB2, began broadcasting in Spanish in the choice of programmes offered complemented that of the only channel that had been broadcasting in Basque until then, ETB1, and tended to compete with large scale Spanish national channels. As it is a common practice in Spain for films to be dubbed both in the cinema and on television, Basque speakers were used to viewing dubbed films in Spanishand dubbing was seen as the most convenient way to watch a film.
Meta57 2— In fact, the percentage of programming devoted to drama has increased in the past five years in response to audience demand, as figure 4 reveals, although in it underwent significant decline. Despite the general rise in competency of the Basque language in Euskadi, its public presence remains weak and there has even been a decline in the use of Basque in the domestic sphere.
The present crisis is shouting loudly that there must be something rotten in the Spanish theatrical system. It is also remarkable that, although Gas was accused of producing plays with such technical requirements that they were difficult to go on tour, these three plays, which in svae way deal with the crisis, went on tour around Spain.
The Budget is the Thing: Spanish Theatre in Recession (Spain)
There have been, however, some public and private initiatives to give sgze spectators what they also want: Numbers were considered the path to prestige. Media consumption across platforms: There are no significant differences according to socio-demographic variables in the case of screen preference, with the exception of television.
Where Old and New Media Collide. The data presented in Figure 5 are completed by the breakdown of the level of technological penetration in the average Spanish household, offered in Table 3. The number of spectators declined from In addition to sociolinguistic reasons, there was also an educational motivation.
Whereas literary shae in Basque has served as a model for translations and literary translation itself has been an important factor in the development of a varied and modern literary language in Basque, the small anyario of original audiovisual production in Basque has prevented the creation of similar synergies in this field. Pablo Carbonel and Leire Ruiz.
In the following years the situation became even worse.
Their authors acknowledge that some of their findings are only partially relevant, either because their sample was limited in terms of target population or because they were taking results from different, not always very homogeneous, databases and statistics.