Editorial Technique Techniques to Translate the Wordplay in The Lego Movie

TAKOS The S is silent. So on Taco Tuesday its going to spray the Kragle over everyone and everything with a bunch of super scary nozzles, like this one. Ill show you how it works. Bad Cop: Sir, I dont know if this is necessary. TT Tuan Bisnis: Senjata yang paling kuat di antara barang peninggalanku. Kragle Seperti yang kamu lihat, mereka memuat Kragle pada mesin besar di lantai atas. Aku menyebutnya ‘Tentacle Arm Kragle outside Sprayer’ Tangan Tentakel Kragle Di luar Semprotan atau TAKOS. ‘S’ nya dihilangkan. Jadi pada Taco Tuesday, aku akan pergi untuk menyemprot Kragle atas setiap orang, segala sesuatu dengan semprotan yang sangat mengerikan seperti ini. Aku akan menunjukkan cara kerjanya. Bad Cop: Pak, aku tidak tahu apakah ini diperlukan. Datum number 16 The word TAKOS stands for ‘Tentacle Arm Kragle outside Sprayer’. Lord Business creates the abbreviation in order to represent how the Kragle works. He said that the Kragle is saved in a big machine and he calls the machine as TAKOS. The word TAKOS is derived from Taco, as he makes a celebration called Taco Tuesday where he will destroy the Lego world. He also calls it as a tentacle because the machine is very big and has pipes that look like tentacles. When the sentence is translated into Bahasa Indonesia, the word ‘TAKOS’ is not translated. The word ‘TAKOS’ is not translated because the word is an abbreviation. The meaning of ‘TAKOS’ is also not translated into Bahasa Indonesia in order to make the audience understands what ‘TAKOS’ stands for. However, the translator also gives a translation version of ‘TAKOS’ in Bahasa Indonesia to make the audience understand the meaning of the abbreviation of ‘TAKOS’. The translator uses brackets in giving the meaning of ‘Tentacle Arm Kragle outside Sprayer’ in Bahasa Indonesia to separate between the phrases so the audience understands that the meaning of ‘Tentacle Arm Kragle outside Sprayer’ in Bahasa Indonesia. Hence, the translator uses the editorial technique because hshe uses an explanatory footnote to explain the meaning of the phrase. If the word ‘TAKOS’ is translated into Bahasa Indonesia without giving an explanation what ‘TAKOS’ stands for, the audience may be confused because it is difficult to find a similar meaning for ‘Tentacle Arm Kragle outside Sprayer’ that also has the same abbreviation to ‘TAKOS’. Another example comes with a paronymy wordplay in the research findings. The translator uses this technique to maintain the paronymous wordplay and to make the audience understands that the paronymous wordplay in the conversation is to raise a humorous effect. The example of editorial technique is showed below. ST Robot: Who are you here to see? Batman: Im here to see your butt. Robot: Is that a last name Butt, first name Your...? Oh, my gosh Batman: Pow Wham Kezap First try TT Robot: Kau kemari untuk melihat siapa? Batman: Aku di sini untuk melihat “butt” mu. bokong Robot: Apakah itu nama belakang, “Butt” Nama pertama? “kau..” Oh, Tuhan Batman: Pow Wham Kezap Sekali Coba Datum number 35 This example is a homonymous wordplay. The word ‘butt’ in the sentences is defined as the part of the body, which is sometimes, can be referring as a swearing word. In this term, Batman is making a humorous effect by saying ‘butt’ because he wanted to tease Robot so he can go to the office. Thus, he says that he wants to see Robot’s butt. However, the Robot thinks that ‘butt’ refers to a last name of a person. That is why it makes a humorous effect to the conversation. When the sentences are translated into Bahasa Indonesia, the word ‘butt’ is not translated both in the first and the second sentences. However, in the target text, the translator gives a meaning of ‘butt’ with brackets. The word ‘butt’ is translated into ‘bokong’ in Bahasa Indonesia. Thus, it can be said that the transaltor used the editorial technique to make the audience understands what ‘buttt’ means in Bahasa Indonesia. If the word ‘butt’ were translated into Bahasa Indonesia in literal meaning, the humorous effect would not be recreated.

3. Degree of Equivalence of the Translation of Wordplay in The Lego Movie

It has been stated in chapter two that the third focus of this study is the degree of translation equivalence that are revealed in the movie. Therefore, in this finding research the degree of equivalence of wordplay is divided into following categorizations.

a. Equivalent

The translation of wordplay is considered equivalent when the following chaaracteristics are found. First, the translation is equivalent in the form of wordplay and the meaning of text expression. Second, the translation is equivalent only in the form of wordplay and the rest is equivalent only in the meaning of text expression. According to these criteria, two classifications are made: fully and partially equivalent. 1 Fully Equivalent The fully equivalent translation can be occured when wordplay is translated into wordplay and the meaning of the source text expressions is maintained. The following example is a fully equivalent translation. ST Emmet Brickowoski: Well...well, technically Im not exactly a Master Builder yet... Metal Beard: What? Emmet Brickowoski: Please, everyone. Everyone Please Shakespeare: Rubbish TT Emmet Brickowoski: Nah, uh.. yah, secaara teknis aku belum menjadi seorang ahli pembangun. Metal Beard: Apa? Emmet Brickowoski: Tolong, semuanya, semuanya. Tolong Shakespeare: Omong kosong Datum number 25 The word ‘rubbish’ in the datum above belongs to the classification of idiomatic wordplay since it has individual meaning in terms of of this conversation. The phrase ‘rubbish’ becomes a swearing word by Shakespreare to represent his anger to Emmet after his confession. When this phrase is translated into Bahasa Indonesia, it becomes ‘omong kosong’ in the target text. In other words, wordplay to wordplay technique translation is employed in this regard. In most cases, the use of wordplay to wordplay technique translation is somehow difficult because the translator has to find another word that is related to the wordplay in the source text. However, in this term, the translator seems creative to recreate the wordplay in the target text