“Troe iz Prostokvašino”, Il trio di Prostokvašino: traduzione di un cortometraggio d'animazione russo

Abstract The final aim of the present thesis is to translate the soviet animated short film entitled «Troe iz Prostokvašino» (Трое из Простоквашино; in English: Three from Prostokvašino) of 1978, from Russian into Italian. Directed by Vladimir Popov, this animated short film is based on the children's book «Djadja Fëdor, pës i kot» (Дядя Фёдор, пёс и кот; in English: Uncle Fedya, His Dog, and His Cat) by Ėduard Nikolaevič Uspenskij, published in 1974. Ėduard Uspenskij was a famous and important Russian writer and screenwriter between the 20 th and the 21 st century, and he gave a considerable contribution to the children's literature in Russia. He was the author of an amount of children's books and the characters he created, have accompanied the childhood of so many children. «Djadja Fëdor, pës i kot» is one of his most important works. I decided to translate this tale, that has never been translated into Italian before – neither the book nor the animated cartoon – after my supervisor introduced it to me, since it is undoubtedly one of the most iconic examples of Russian art for children during the soviet era. The thesis is divided into four main sections. The first part describes the author's life, his works and his screenplays, with a subsequent introduction to the animated short film and the exposition of its plot. This is the funny story of a boy named Uncle Fëdor, that escapes from home after his parents don't let him keep a talking cat, Matroskin. Arrived in a village called Prostokvašino, the two start a series of adventures with the people of the place, including the talking dog Šarik and the postman Pečkin. The second part regards the explanation of what audiovisual translation concerns, its properties and the types of language transfers. The strategy I have adopted is the translation of the script, which can be adjusted and rendered in subtitles for the animated cartoon. In the third part we have a general cinematographic framework with a brief animation cinema history, its definition and its characteristics. Finally, the fourth part concerns the translation of the animated short film's dialogues, which represents the cornerstone of the present thesis. 2