Sample translations submitted: 5 Spanish to English: Tan sólo el hijo de alguien / Just somebody's son, by
General field: Art/Literary
Detailed field: Cinema, Film, TV, Drama | | Source text - Spanish
FLAUTA cuelga del poste un flexible que ayuda a alumbrar toda la escena, tomando energía de la batería del auto encendido. Hay unos cuantos bidones de agua a un costado y muchos y flamantes producto de camping alrededor de una gran carpa estructural: bolsas de dormir, colchonetas de aluminio, cantimploras, anafe, ollitas, enorme cantidad de mercadería y tambores especiales de cierre hermético, repletos de combustible.
Por detrás del FLAUTA, dispuestos en una línea horizontal y de pie están LUKK (33), GABI (30) y TINO (34). Miran el gran despliegue, impactados.
FLAUTA (en Español, dando por finalizada su labor) Lo que sí tenemos solamente dos bolsas de dormir...
GABI (en Español, mirando la gran carpa) AHHH no! perdoname pero yo en el piso no te duermo!
TINO la mira irritado. GABI le demuestra que está bromeando.
GABI (en Español con acento) Belga mirá, pasamos de estar tirados en la ruta, comiendo dos manzanas paposas a esto que es el HYATT!! Ni siquiera sabía que existían carpas así...
FLAUTA sonríe. La carpa tiene diferentes ambientes.
LUUK (en Inglés, preocupado) I don’t want to be the buzzkill but...
LUUK les muestra una gran cantidad de piezas que quedaron sin uso, en el armado de la carpa.
LUUK (en Inglés, levantando las piezas con la mano) This is not a good sign. | Translation - English
FLAUTA hangs a lamp from the light pole to shine on the whole place, using the running car battery to power it. There are some water bottles on one side and many brand new camping supplies surrounding a big frame tent: sleeping bags, aluminum pads, canteens, a portable furnace, pots, a huge amount of groceries; and huge hermetic containers full of fuel.
Behind FLAUTA, standing in line side by side are LUUK (33), GABI (30) and TINO (34). They stare at the huge display, shocked.
FLAUTA (in Spanish, finishing his work) We only have two sleeping bags though...
GABI (in Spanish, staring at the huge tent) AHHH, no way! Excuse me but I am not sleeping on the floor!
TINO turns to her, annoyed. GABI shows him she’s joking.
GABI (in accented Spanish) Look, Belgian, we went from laying around in the middle of the road, eating two mealy apples, to this, which is basically the HYATT! I didn’t even know tents like this existed...
FLAUTA smiles. The tent has different rooms.
LUUK (in English, worried) I don’t want to be the buzzkill but...
LUUK shows them the great amount of parts that were left unused during the tent’s assembly.
LUUK (in English, lifting the parts with his hand) This is not a good sign. | English to Spanish: Sula, by Toni Morrison
General field: Art/Literary
Detailed field: Poetry & Literature | | Source text - English
One road, shaded by beeches, oaks, maples and chestnuts, connected it to the valley. The beeches are gone now, and so are the pear trees where children sat and yelled down through the blossoms to passersby. Generous funds have been allotted to level the stripped and faded buildings that clutter the road from Medallion up to the golf course. They are going to raze the Time and a Half Pool Hall, where feet in long tan shoes once pointed down from chair rungs. A steel ball will knock to dust Irene's Palace of Cosmetology, where women used to lean their heads back on sink trays and doze while Irene lathered Nu Nile into their hair. Men in khaki work clothes will pry loose the slats of Reba's Grill, where the owner cooked in her hat because she couldn't remember the ingredients without it. | Translation - Spanish
Una calle, a la sombra de las hayas, robles, arces y castaños, lo conectaba con el valle. Las hayas ya no están, ni tampoco los árboles de peras en que los niños se sentaban y le gritaban entre los capullos a los transeúntes. Un presupuesto generoso ha sido asignado para demoler los edificios desmontados y deslucidos que abarrotan la calle de Medallion hasta el campo de golf. Van a arrasar el Bar de Pool Tiempo y Medio, donde los pies en largos zapatos castaños alguna vez apuntaron desde los travesaños de las sillas. Una bola de acero va a tirar abajo el Palacio de Cosmetología de Irene, donde las mujeres solían recostar sus cabezas en bandejas de lavamanos y dormitar mientras Irene les enjabonaba el pelo con Nu Nile. Hombres en ropas de trabajo color khaki arrancarán los listones de la Parrilla de Reba, donde la dueña sólo cocinaba con su sombrero puesto porque no se podía acordar los ingredientes sin él. | Spanish to English: El despertar / The awakening, by Alejandra Pizarnik
General field: Art/Literary
Detailed field: Poetry & Literature | | Source text - Spanish
Señor
La jaula se ha vuelto pájaro
y se ha volado
y mi corazón está loco
porque aúlla a la muerte
y sonríe detrás del viento
a mis delirios
Qué haré con el miedo
Qué haré con el miedo
Ya no baila la luz en mi sonrisa
ni las estaciones queman palomas en mis ideas
Mis manos se han desnudado
y se han ido donde la muerte
enseña a vivir a los muertos
Señor
El aire me castiga el ser
Detrás del aire hay mounstros
que beben de mi sangre
Es el desastre
Es la hora del vacío no vacío
Es el instante de poner cerrojo a los labios
oír a los condenados gritar
contemplar a cada uno de mis nombres
ahorcados en la nada.
Señor
Tengo veinte años
También mis ojos tienen veinte años
y sin embargo no dicen nada
Señor
He consumado mi vida en un instante
La última inocencia estalló
Ahora es nunca o jamás
o simplemente fue
¿Còmo no me suicido frente a un espejo
y desaparezco para reaparecer en el mar
donde un gran barco me esperaría
con las luces encendidas?
¿Cómo no me extraigo las venas
y hago con ellas una escala
para huir al otro lado de la noche?
El principio ha dado a luz el final
Todo continuará igual
Las sonrisas gastadas
El interés interesado
Las preguntas de piedra en piedra
Las gesticulaciones que remedan amor
Todo continuará igual
Pero mis brazos insisten en abrazar al mundo
porque aún no les enseñaron
que ya es demasiado tarde
Señor
Arroja los féretros de mi sangre
Recuerdo mi niñez
cuando yo era una anciana
Las flores morían en mis manos
porque la danza salvaje de la alegría
les destruía el corazón
Recuerdo las negras mañanas de sol
cuando era niña
es decir ayer
es decir hace siglos
Señor
La jaula se ha vuelto pájaro
y ha devorado mis esperanzas
Señor
La jaula se ha vuelto pájaro
Qué haré con el miedo | Translation - English
Lord
the cage has turned into a bird
and it’s flown away
and my heart is crazy
‘cause it howls at Death
and smiles from behind the wind
at my delusions
What will I do with the fear
What will I do with the fear
Light doesn’t dance in my smile anymore
and the seasons are burning doves in my ideas
My hands have stripped themselves naked
and they’ve gone where Death
teaches how to live to the dead
Lord
The air punishes my being
Behind the air there are monsters
that drink from my blood
It’s the disaster
It’s the hour of the void not void
It’s the instant to put a lock on the lips
to hear the yelling of the damned
to contemplate each and every one of my names
hanging in the emptiness
Lord
I’m twenty years old
my eyes, too, are twenty years old
and yet, they don’t say anything
Lord
I’ve consumed my life in an instant
The last innocence exploded
Now is never or nevermore
or it simply was
How do I not commit suicide in front of a mirror
and disappear to reappear in the sea
where a big boat would wait for me
with the lights on?
How do I not rip out my own veins
and build with them a ladder
to escape towards the other side of the night?
The beginning has birthed the end
Everything will remain the same
The worn out smiles
The selfish interest
The questions from stone to stone
The gesticulations that mimic love
Everything will remain the same
But my arms insist on embracing the world
because they haven’t been taught
that it’s already too late
Lord
Throw the caskets from my blood
I remember my childhood
when I was an old woman
The flowers died in my hands
because the savage dance of joy
destroyed their hearts
I remember the black sunny mornings
when I was a little girl
which means yesterday
which means centuries ago
Lord
the cage has turned into a bird
and it’s devoured my hopes
Lord
the cage has turned into a bird
What will I do with the fear | English to Spanish: In my shoes / En mis zapatos, by César A. Hidalgo
General field: Art/Literary
Detailed field: Cinema, Film, TV, Drama | | Source text - English
1
00:00:06,900 --> 00:00:10,300
How would you see the world
if you experienced it in my shoes?
2
00:00:13,000 --> 00:00:16,350
For years,
I've been traveling for work,
3
00:00:16,350 --> 00:00:20,750
seeing the world firsthand
but being unable to communicate to others
4
00:00:20,750 --> 00:00:23,200
what I see
and how I feel.
5
00:00:25,500 --> 00:00:27,400
So,
a few years ago,
6
00:00:27,400 --> 00:00:31,000
I decided to teach myself
how to film.
7
00:00:31,000 --> 00:00:35,750
Armed with a couple of lenses, a microphone,
and a semi-professional camera,
8
00:00:35,750 --> 00:00:38,000
I began to record
my unscripted life.
9
00:00:41,900 --> 00:00:45,800
What you are about to see
is a slice of my life, filmed between
10
00:00:45,800 --> 00:00:50,400
March and June of 2016,
as lived in my shoes.
11
00:00:52,500 --> 00:00:56,500
Hey, Iriska,
do you wanna help me make some coffee?
12
00:01:08,500 --> 00:01:12,850
So, I'm in day one of the trip we're in now;
in Washington DC,
13
00:01:12,850 --> 00:01:16,700
and today I'm gonna go
and give a conference
14
00:01:16,700 --> 00:01:18,100
at the Library of Congress;
15
00:01:18,100 --> 00:01:21,800
with, uhm, a very nice group
of scholars who we're working with
16
00:01:21,800 --> 00:01:25,420
on understanding how teams of people
are able to produce
17
00:01:25,420 --> 00:01:27,430
work that becomes
widely adopted,
18
00:01:27,430 --> 00:01:32,000
and also how people change,
you know, the things that they do over time...
19
00:01:32,000 --> 00:01:36,850
...and, to understand that we're using a lot of,
eh, peer-review publication data,
20
00:01:36,850 --> 00:01:39,500
and looking at their citations
and measure of adoption,
21
00:01:39,500 --> 00:01:41,150
and looking at the areas
in which they publish,
22
00:01:41,150 --> 00:01:45,150
as a way to understand how people switch
between the things that they know how to do. | Translation - Spanish
1
00:00:06,900 --> 00:00:10,300
Como verías el mundo
si lo experimentaras en mis zapatos?
2
00:00:13,000 --> 00:00:16,350
Durante años,
he viajado por trabajo,
3
00:00:16,350 --> 00:00:20,750
observando el mundo en primera persona
pero siempre incapaz de compartir con otros
4
00:00:20,750 --> 00:00:23,200
lo que veo
y lo que siento.
5
00:00:25,500 --> 00:00:27,400
Así que,
unos años atrás,
6
00:00:27,400 --> 00:00:31,000
Decidí aprender por mi cuenta
cómo filmar.
7
00:00:31,000 --> 00:00:35,750
Con sólo un par de lentes, un micrófono,
y una cámara semi-profesional,
8
00:00:35,750 --> 00:00:38,000
empecé a grabar
mi vida sin guionarla.
9
00:00:41,900 --> 00:00:45,800
Lo que ahora van a ver
es un fragmento de mi vida, filmado
10
00:00:45,800 --> 00:00:50,400
entre Marzo y Junio de 2016,
como fue vivido en mis zapatos.
11
00:00:52,500 --> 00:00:56,500
Oye, Iriska,
¿me ayudarías a preparar café?
12
00:01:08,500 --> 00:01:12,850
Bueno, estoy en el primer día de nuestro viaje,
me encuentro ahora en Washington DC,
13
00:01:12,850 --> 00:01:16,700
y hoy voy a
a dar una conferencia
14
00:01:16,700 --> 00:01:18,100
en la Biblioteca del Congreso.
15
00:01:18,100 --> 00:01:21,800
Tenemos un grupo de académicos
muy agradables con los que estamos trabajando
16
00:01:21,800 --> 00:01:25,420
en entender cómo diferentes equipos de personas
son capaces de producir
17
00:01:25,420 --> 00:01:27,430
trabajos que se vuelven
ampliamente reconocidos;
18
00:01:27,430 --> 00:01:32,000
y también cómo la gente cambia,
las cosas que hacen a lo largo del tiempo...
19
00:01:32,000 --> 00:01:36,850
...y para entender esto, estamos utilizando información
extraída de publicaciones revisadas por expertos;
20
00:01:36,850 --> 00:01:39,500
observando sus citas
y midiendo el grado de adaptación del material,
21
00:01:39,500 --> 00:01:41,150
y observando las áreas
en las que publican,
22
00:01:41,150 --> 00:01:45,150
como una forma de entender cómo la gente cambia
entre las cosas que saben hacer. | Spanish to English: Despedida / Closing act, by Murga Don Timoteo
General field: Art/Literary
Detailed field: Music | | Source text - Spanish
1
00:00:20,040 --> 00:00:24,200
Lo que cuento es verdad.
2
00:00:24,200 --> 00:00:27,550
Es verdad para mí.
3
00:00:28,460 --> 00:00:32,200
Es la llave de luz
4
00:00:32,200 --> 00:00:36,710
de todo lo que viví.
5
00:00:37,330 --> 00:00:41,240
Lo que cuento es verdad
6
00:00:41,240 --> 00:00:45,310
y no tengo razón,
7
00:00:46,640 --> 00:00:51,800
sólo es una verdad.
8
00:00:54,330 --> 00:00:59,460
He gastado vida
dándome medallas
9
00:00:59,460 --> 00:01:04,310
y organizando
escraches contra mí.
10
00:01:04,950 --> 00:01:09,730
Con la cabecita entre
"mirá que crack que soy"
11
00:01:09,730 --> 00:01:15,370
y "sigo siendo el mismo gil."
12
00:01:15,370 --> 00:01:20,060
Que si no me quieren,
si ando mal, si no me aplauden,
13
00:01:20,060 --> 00:01:25,510
o no llego a ser campeón...
14
00:01:25,770 --> 00:01:29,110
Con tanto abogado en mi cabeza,
15
00:01:29,110 --> 00:01:35,370
te comento que
me ha dado la impresión
16
00:01:35,570 --> 00:01:39,710
que perder,
perder el juicio
17
00:01:39,710 --> 00:01:41,750
me va a hacer bien.
18
00:01:41,750 --> 00:01:46,510
Perder el juicio,
andar sueltito por ahí,
19
00:01:46,510 --> 00:01:51,820
sin ese vicio
de descubrir el bien y el mal
20
00:01:51,820 --> 00:01:54,110
en cada cosa,
21
00:01:54,110 --> 00:01:58,970
hasta en la forma
en que alguien dice adiós.
22
00:01:58,970 --> 00:02:04,040
Soltar ese rehén
de tu desquicio.
23
00:02:04,040 --> 00:02:06,550
Perder el juicio,
24
00:02:06,550 --> 00:02:11,460
dejar que todo
se te escape de las manos,
25
00:02:11,460 --> 00:02:18,510
hacer vacío a esa necesidad
de controlarlo todo.
26
00:02:18,680 --> 00:02:26,910
Enloquecer
pa' no tener que cumplir,
27
00:02:27,020 --> 00:02:33,860
ni jurar,
ni prometerle a nadie,
28
00:02:33,860 --> 00:02:36,350
ni a vos mismo.
29
00:02:36,570 --> 00:02:43,930
Declararse enfermo.
30
00:02:43,930 --> 00:02:50,860
No hay nada más cuerdo
que estar enfermo.
31
00:02:50,860 --> 00:02:53,910
Me importa un cuerno.
¡Muchas gracias! | Translation - English
1
00:00:20,040 --> 00:00:24,200
What I tell is the truth.
2
00:00:24,200 --> 00:00:27,550
It's true to me.
3
00:00:28,460 --> 00:00:32,200
It's the key made of light
4
00:00:32,200 --> 00:00:36,710
of everything that I've lived.
5
00:00:37,330 --> 00:00:41,240
What I tell is the truth
6
00:00:41,240 --> 00:00:45,310
and I'm not always right,
7
00:00:46,640 --> 00:00:51,800
it's just one truth.
8
00:00:54,330 --> 00:00:59,460
I've spent a lifetime
giving myself medals
9
00:00:59,460 --> 00:01:04,310
and staging protests
against myself.
10
00:01:04,950 --> 00:01:09,730
With my head between
"look how great I am"
11
00:01:09,730 --> 00:01:15,370
and "I'm always the same imbecile."
12
00:01:15,370 --> 00:01:20,060
Whether they don't love me,
if I'm down, if nobody's clapping,
13
00:01:20,060 --> 00:01:25,510
or I can't win the championship...
14
00:01:25,770 --> 00:01:29,110
With so many lawyers in my head,
15
00:01:29,110 --> 00:01:35,370
let me tell you
that I've felt like
16
00:01:35,570 --> 00:01:39,710
that to lose,
to lose my mind
17
00:01:39,710 --> 00:01:41,750
would serve me right.
18
00:01:41,750 --> 00:01:46,510
To lose your mind,
to go wandering around,
19
00:01:46,510 --> 00:01:51,820
without that vice
of finding good and evil
20
00:01:51,820 --> 00:01:54,110
in every detail,
21
00:01:54,110 --> 00:01:58,970
even in the way
in which someone says goodbye-
22
00:01:58,970 --> 00:02:04,040
Let go of that hostage
of your delusions.
23
00:02:04,040 --> 00:02:06,550
To lose your mind,
24
00:02:06,550 --> 00:02:11,460
to let everything
escape your grasp,
25
00:02:11,460 --> 00:02:18,510
and ignore that need
to control everything.
26
00:02:18,680 --> 00:02:26,910
To go crazy
so you won't have to obey,
27
00:02:27,020 --> 00:02:33,860
or swear,
or make promises to anyone,
28
00:02:33,860 --> 00:02:36,350
not even yourself.
29
00:02:36,570 --> 00:02:43,930
Declare yourself insane.
30
00:02:43,930 --> 00:02:50,860
There's nothing saner
than being sick.
31
00:02:50,860 --> 00:02:53,910
I don't give a shit.
Thank you very much! |
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