History

In the audiovisual field, it was possible to insert the DVD (1996) ^[1] in which an integrated data-base gives access to several language channels dedicated to titling.
In the live performing arts, they were introduced in 1998 at the Santa Fe Opera by mean of custom individual displays set mainly on the back of the seats, as in airplanes. ^[2]
The introduction, at the end of the 1900s, of Web 2.0 and of the new mobile device technologies.
In Europe, in 2011, a significant innovation was provided by the Maggio Musicale FiorentinoTheater in Florence, which started the testing of a new mobile transmission system for mobile devices, ^[3] that can be integrated to monolingual surtitles .
In the same year, another software for mobile devices was developed, as an alternative to the use of subtitles in cinemas, and the following year (2012), a new head-mounted display system (multimedia glasses) same function. ^[4]
In 2011-2012, the Royal Opera House Muscat carried out the most advanced multilingual custom display system to the central LED panel. ^[5]

Other solutions

More than one traditional text, which is used in most cases with monolingual function.

Sources

• BARDI A., Word sung or recited and written word. Thoughts for the first ten years of Prescott Studio , in Prescott Studio. 1996-2006: Catalog of productions. Ten years of surtitles in Italy and in Europe , pp. 11-13, Florence-Scandicci, 2007
• BESTENTE S., Happy Birthday, surtitles , 16 July 2008, in http://www.fierrabras.com/2008/07/16/buon-compleanno-sopratitoli/
• COLOMBO S., ed., «How do you say Wagner in Italian?» Press review of the debut of surtitles in Europe , in Prescott Studio. 1996-2006: Catalog of productions. Ten years of surtitles in Italy and in Europe , pp. 29-36, Florence-Scandicci, 2007
• CONTI M., Read rumors. The silent story of surtitles, off-screen voice of the theater , in Prescott Studio. 1996-2006: Catalog of productions. Ten years of surtitles in Italy and in Europe , pp. 15-24, Florence-Scandicci, 2007
• EUGENI C., Opera Theater and simultaneous linguistic adaptation , MA Thesis, School of Modern Languages ​​for Interpreters and Translators, University of Bologna, academic year 2002-2003
• FOURNIER-FACIO G., I was there. The first time of surtitles in Italy , in Prescott Studio. 1996-2006: Catalog of productions. Ten years of surtitles in Italy and in Europe , p. 37, Florence-Scandicci, 2007
• FREDDI M. and LURAGHI S., Titling for the Opera House: a Test Case for Universals of Translations? in INCALCATERRA McLOUGHLIN L., BISCIO M. and NÍ MHAINNÍN, M. Á., eds., Audiovisual Translation. Subtitles and Subtitling: Theory and Practice , Bern-Berlin-New York: Peter Lang, 2010. See also the full Bibliography (in Appendix)
• GAMBIER Y., Les transferts linguistiques dans les médias , Lilles: Presses Universitaires du Septentrion, 1996
• GOTTLIEB H., Subtitling. A new University Discipline , DOLLERUP C. and LODDEGAARD ​​A., Eds., Teaching Translation and Interpreting, 1. Training, Talent and Experience , Amsterdam-Philadelphia: John Benjamins, 1992
• HEISS C. and BOLLETTIERI BOSINELLI RM, Multimedia translation for cinema, television and the scene , Bologna: Clueb, 1996
• HUGHES PJ, The introduction of supertitles to opera , MA Thesis, Teachers College, Columbia University: New York 2003
• MARSCHALL GR, La traduction des livrets. Aspects théoriques, historiques et pragmatiques. Actes du colloque international tenu en Sorbonne les 30 November, 1st and 2nd December 200, sous la direction de Gottfried R. Marschall, Paris: Presses de l’Université Paris-Sorbonne, 2004
• LURAGHI S., Subtitles for the work: simplification strategies in a special type of translation , in «Italian Studies of theoretical and applied linguistics», 33 (1), Pisa: Pacini Editore, 2004
• PAPARELLA S., Surtitles: methods of translation and adaptation of the text , BA Thesis, Faculty of Literature and Philosophy, University of Pisa, advisor Mireille Gille, academic year 2003-2004
• PEREGO E., Subtitling Evidence of Explication: towards a categorization , in «Across language and cultures», 4 (1), pp. 63-88, 2003
• PEREGO E., Audiovisual translation , Rome: Carocci, 2005. See also the full Bibliography (in Appendix), pp. 121-126
• RACAMIER, M., Une vision d’ensemble du surtitrage d’opéra: vers la reconnaissance d’une nouvelle pratique de traduction? , Université de Toulouse II Le Mirail – University of Genua, Mémoire de deuxième année of Master Professionnel in Traduction and Interpreting “Proscenio”: Traduction tecnique, multimédia et arts de la scène, headmaster Margherita Orsino, co-headmaster Micaela Rossi, academic year 2011 -2012
• ROCCATAGLIATI A. and SALA E., Translate the work? It is enough to understand each other … , in “The Journal of Music”, No. 188, December 2002
• SABLICH S., Wagner with the captions , Program notes, Die Meistersinger von Nürnberg , European début of surtitles, Florence, Teatro Comunale, 1 June 1986
• SABLICH S., Translating at the time of surtitles , in “The Journal of Music”, No. 188, December 2002
• SESTITO M., Stage costumes of the translation , in Prescott Studio. 1996-2006: Catalog of productions. Ten years of surtitles in Italy and in Europe , pp. 25-27, Florence-Scandicci, 2007
• STAMPACCHIA E., Translation and overtitling. The case of the opera , MA Thesis, Faculty of Literature and Philosophy, University of Pavia, Silvia Luraghi advisor, academic year 2003-2004

Notes