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The brief consists of the most relevant information about the work a translation or transcreation professional has in hand, what the customer expects from their services, and the intended result.
To provide a good transcreation service, obtaining this information before we start is key.
The truth is no one—whether born creative or having developed their previously untapped potential—can be permanently inspired and have good ideas à la carte. There are actually methods and exercises to promote and stimulate our creative potential.
The transcreator needs to establish an emotional connection between the target audience and the message conveyed, always focusing on cultural relevance. A transcreated message must elicit the same emotional response and have the same implications for the target audience as the original message.
As great authors like James Joyce disrupted canonical standards, translating their work became harder. How could one translate these works while still preserving their essence, exploring these resources of linguistic materiality, if the meaning of the source text was no more than a secondary aspect?
The brief consists of the most relevant information about the work a translation or transcreation professional has in hand, what the customer expects from their services, and the intended result.
To provide a good transcreation service, obtaining this information before we start is key.
The truth is no one—whether born creative or having developed their previously untapped potential—can be permanently inspired and have good ideas à la carte. There are actually methods and exercises to promote and stimulate our creative potential.
The transcreator needs to establish an emotional connection between the target audience and the message conveyed, always focusing on cultural relevance. A transcreated message must elicit the same emotional response and have the same implications for the target audience as the original message.
As great authors like James Joyce disrupted canonical standards, translating their work became harder. How could one translate these works while still preserving their essence, exploring these resources of linguistic materiality, if the meaning of the source text was no more than a secondary aspect?
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