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Services
Translation, Editing/proofreading, Transcription
Expertise
Specializes in:
Education / Pedagogy
International Org/Dev/Coop
Cinema, Film, TV, Drama
Tourism & Travel
Cooking / Culinary
Social Science, Sociology, Ethics, etc.
Government / Politics
Music
Poetry & Literature
History
Also works in:
Advertising / Public Relations
Linguistics
Certificates, Diplomas, Licenses, CVs
Construction / Civil Engineering
Geography
Aerospace / Aviation / Space
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Rates
English to Spanish - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour English to Catalan - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour Arabic to Spanish - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour Arabic to Catalan - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour Spanish to Catalan - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour
Catalan to Spanish - Rates: 0.04 - 0.09 EUR per word / 15 - 25 EUR per hour
English to Spanish: The Art of Transformation (M. Boronat / C. Laguillo) General field: Art/Literary Detailed field: Art, Arts & Crafts, Painting
Source text - English BUTTERFLY
(Performance, 6 performers. Centro de las Artes, Sevilla, 2008)
Butterfly explores the liberation from restraints through a process of transformation. From the classical metaphor of the butterfly metamorphosis, Boronat suggests an analogous process to stress the critical periods of human existance. As in every reflection of change and transformation, the temporal dimension is implicitly mentioned. Considering that every transformation implies making a progress, Mercedes Boronat beautifully represents the transition allegory by dividing the theatre space.
The performance develops as a chaotic trip by six performers around ten different small stage areas representing ten stages in the metamorphical process each one of them undergoes. Within this transition, there are many different paces and flows. The actors flow and often interact and overlap in the different stages of their own mutation, as it happens in any real-life experience.
As in any of the works by Boronat, the progress experienced by the performers is based on body movement, only now it is crucial and directly related to what the artist wants to communicate. Movement is considered a means of attaining any mental, physical or spiritual status, and also of generating a transition. That is, space and time come together in a bodily experience.
Despite the body control every performer has over himself, performances often have life of its own, for performer’s experiences are improvisations and artists ignore the development of their metamorphosis in relation to the other performers. Transformations occur, then, in multiple directions. Every performer frees himself from his role as he moves forward by the stage divisions. At the same time, the collective undergoes permanent, unforeseen and random mutations that sometimes recquire interaction and invasion of “someone else’s” spaces. All the energy generated within the performance, nonetheless, generates changing interactions towards and in the space. Finally, as the performance goes on, the audience gradually mutates its perception on it, and they establish an emotional bond towards the peformance and the action that is being attended. Therefore, the metaphorical transformation that had preset parameters becomes eventually a free, independent and fully real event of experiencing change.
Butterfly is a ritual performative event, as it derives from a series of actions with a highly simbolic purpose, and it materializes through the movement of the body as a means to personal and collective liberation by a physical transition in space, a tangible evolution through different states of awareness.
Translation - Spanish Butterfly es una performance que explora la liberación de las contenciones a través de la transformación.
A partir de la clásica metáfora de la metamorfosis de la mariposa, Boronat propone un proceso análogo para acentuar los periodos críticos de toda existencia humana. Y, como en cualquier reflexión en torno al cambio y a la transformación, en esta pieza hay una mención implícita a la dimensión temporal. Puesto que transformarse comporta también avanzar, Mercedes Boronat realiza una bella alegoría del tránsito mediante la parcelación del espacio escénico.
Así, la performance se desarrolla como un recorrido caótico por parte de seis intérpretes a lo largo de diez parcelas reducidas, que representan diez estados del proceso metamórfico que sufre cada uno de ellos. En el devenir de ese tránsito se producen muchos y muy variados ritmos y flujos. Los actores fluctúan y a menudo interactúan y se solapan en las diversas etapas de su propia mutación, tal y como sucede en cualquier experiencia real.
El movimiento corporal es, como en toda la obra de Boronat, la base del progreso experimentado por los intérpretes, pero en este caso es crucial y absolutamente vinculante al concepto que pretende transmitir la artista. Movimiento para alcanzar cualquier estatus, mental, físico o espiritual, y movimiento para generar una transición. Es decir, espacio y tiempo aunados en una vivencia corpórea.
A pesar del control corporal que cada intérprete tiene sobre sí mismo, en determinados momentos la performance adquiere vida propia, en la medida en que las vivencias de los performers son improvisaciones, y los artistas ignoran las vías por las que se desarrollará su metamorfosis en relación a las de sus compañeros. Las transformaciones se producen, así, en diversas direcciones. Cada uno de los intérpretes se libera de sus roles a medida que avanza por los espacios delimitados; a su vez, el conjunto sufre mutaciones permanentes, imprevisibles y azarosas que a menudo implican interacciones e invasión de espacios ‘ajenos’; pero toda la energía generada durante el evento performativo, produce también relaciones cambiantes con y en el espacio; y, finalmente, a medida que avanza la performance, la audiencia muta paulatinamente su percepción de la misma, y va estableciendo vínculos afectivos con los actores y la acción que está presenciando. De manera que la metafórica transformación cuyos parámetros venían preestablecidos deviene finalmente como un evento libre, autónomo y plenamente real de la experiencia de cambio.
Butterfly es, pues, un evento performativo de carácter ritual, puesto que parte de una serie de acciones que persiguen una finalidad de alto valor simbólico, y se materializa a través del movimiento del cuerpo como herramienta para la liberación personal y colectiva, mediante una transición física en el espacio, como evolución tangible por diferentes estados de la conciencia.
English to Spanish: Reasons to be preety (Neil Labute) General field: Art/Literary Detailed field: Poetry & Literature
Source text - English GREG tries to scoot closer and comfort her but she pulls away like she's holding a branding iron.
Steph: STOP. Why would you...? God, idiot.
Greg: I'm trying to comfort you...
Steph: Yeah, well, don't. (Beat.) I'm not some old person dying in a home somewhere... gimme a shoulder and I'll smile at you all happy and forgiving. I'm not.
Greg: I was just... / Jeez...
Steph: NO./ No more... (Beat.) I know you don't get this, can't fathom that this is the end of what we've had but you're there. Seriously. At the very edge of, like, a cavern or the, you know, the Grand Canyon or whatever thing makes sense to you...
Greg: This doesn't make sense, not waht you're saying to me. It really doesn't.
Steph: But you get the idea! Of what I'm saying. The metaphor or what have you.
Greg: Yes.
Steph: Good.
Greg: I get it.
Steph: Terrific.
Greg: I do.
Steph: Then that's all I came fo. (Beat.) That, and I need your keys.
Gerg: Great.
Steph: What?
Greg: Nothing.
Steph: No, what? I left mine in my other purse.
Greg: Fine.
Steph: OK then. Fuck. It's a key, Greg, I didn't ask for half your paycheck or something.
Greg: (to himself) Yeah, well, you couldn't...
Steph: What's that?
Greg: Forget it.
Steph: No, I wanna hear what you said.
Greg: Nothing, Stephanie, all right? Leave me be. (Digs in pocket.) Here's my key... I'll get it off the... lemme... shit, I don't have any nails, can you do it?
He hands over the keys and she proceeds to remove the key from the rest of the set.
Translation - Spanish En GREG intenta esmunyir-se prop d’ella i consolar-la, però ella se n’aparta com si portés un ferro roent.
S: Para, collons. Per què ho fas, això? Déu meu, ets tan idiota.
G: Intento consolar-te, només...
S: Doncs passa. (Pausa.) No sóc cap vella que s’està morint en una casa... que si em fas costat et somriuré feliç i et perdonaré. No.
G: Jo només... / Osti tu...
S: NO. / Ja no... (Pausa.) Ja veig que no ho pilles, no pots entendre que és el final d'això nostre i que tu estàs allà. Allà. Just a la punta, no sé, d’una cova o el, el, el Gran Canyón o el que sigui que t’ho faci entendre...
G: Tot això no té cap sentit, el que m’estàs dient. Cap sentit.
S: Ja m’entens, però! El que vull dir. La metàfora. O el que sigui.
G: Sí.
S: Bé.
G: Ho entenc.
S: Excel•lent.
G: De veritat.
S: És per això, que havia vingut. (Pausa.) Per això, i perquè necessito les teves claus.
G: Perfecte.
S: Què?
G: Res.
S: No, què? M’he deixat les meves a l’altre bolso.
G: Molt bé.
S: Doncs val. Hòstiaputa, és una clau, Greg. No t’he demanat la meitat del teu sou ni res.
G: (Per ell) Igualment tampoc podries...
S: Que què?
G: Oblida-ho.
S: No, vull saber què has dit.
G: No res, Stephanie, val? Deixa’m estar. (Furga a la seva butxaca.) Aquí tens la clau... ho trauré de... espera...cony, no tinc ungles, ho pots fer tu?
Li entrega les claus i ella treu la clau de la resta del joc.
English to Spanish: BPA Gmbh Brochure General field: Tech/Engineering Detailed field: Construction / Civil Engineering
Source text - English PREDIMAX® Injection Hose
Injection Hose for Economic Sealing of Construction Joints in Concrete Structures
PREDIMAX 11 and PREDIMAX 19
Product
PREDIMAX is a double-jacketed PVC based hose with
offset openings and/or slots for outlet of compressed
injection material to seal joints in subterranean constructions.
The openings in the interior hose are offset
from the openings in the outer hose, that is to say, cement
paste is prevented from entering.
For installation, you have to fix the injection hose to the
first concrete section by means of some suitable fastening
and imbed it with the next concrete-work phase.
Use (in general)
The injection hose is used for sealing of construction
joints which are permanently or occasionally exposed
to loads due to subterranean, down-the-slope or surface
water.
Construction joints which are required for structural
engineering reasons can be designed non-positive and
watertight.
Features for Installation
Sufficient cross section of the duct (reducing inner
friction of injection material thus allowing economical
compression lengths) and permeability of the compression
duct and outlet openings after concreting.
Cement paste is prevented from entering during
concrete work because of the hose-in-hose system
Robust during installation under building-site conditions,
fastening system included
Easy handling and time-saving fitting
No unwanted twisting when installing from the reel,
because hose is circular
Outlet of injection material from the concreted hose
system even under slight pressure, that is to say,
outlet of material is assured to all sides.
Smooth surface to avoid unwanted bonding between
injection hose and concrete. PREDIMAX may therefore
be applied quite easily with any injection material.
Favourable relation between price and performance,
maximum reliability, for multiple injections.
Suitable for injection of regular cement (PREDIMAX
19 only), fine cement, ultra fine cement, PU resin or
PU foam resin, EP resin or acrylates.
Can be used for multiple injections.
Translation - Spanish Manguera de inyección PREDIMAX®
Manguera de inyección para el sellado económico de juntas de construcción en estructuras de hormigón
PREDIMAX 11 y PREDIMAX 19
Producto
PREDIMAX es una manguera de doble capa de PVC con aberturas no coincidentes y/o ranuras de salida del material de inyección comprimido para el sellado de juntas en construcciones subterráneas. Las aberturas de la capa interior no coinciden con las aberturas de la capa exterior, por lo que la pasta de cemento no puede retroceder.
Para su instalación tiene que fijar la manguera de inyección en la primera fase del hormigonado por medio de una fijación adecuada y cubriéndola en la siguiente fase del trabajo de hormigonado.
Uso (en general)
La manguera de inyección se utiliza para el sellado de juntas de construcción que están permanentemente o ocasionalmente expuestas a presiones de aguas subterráneas, o superficiales.
Las juntas constructivas pueden ser diseñadas no positivas y herméticas.
Características de la instalación
• Sección suficiente del conducto ( que reduce la fricción interna del material de inyección y así permite reducir los largos de compresión) y permeabilidad del conducto de compresión y las aperturas de salida después del hormigonado.
• La pasta de cemento no puede penetrar durante el hormigonado gracias al sistema de doble manguera.
• Robustez en su instalación bajo condiciones de obra, con un sistema de sujeción incluido.
• De fácil y rápido manejo.
• Sin nudos indeseables gracias al diseño circular de la manguera.
• Salida del material de inyección desde el sistema de la manguera incluso a baja presión. La salida del material está asegurada.
• Superficie blanda para evitar la adherencia entre la manguera y el hormigón. PREDIMAX podrá ser utilizado fácilmente con cualquier material de inyección.
• Buena relación precio-rendimiento, máxima fiabilidad, para inyecciones múltiples.
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Translation education
Graduate diploma - Universitat Autònoma de Barcelona (UAB)
Experience
Years of experience: 14. Registered at ProZ.com: Nov 2011.
English to Spanish (University of Barcelona) English to Catalan (University of Barcelona) Arabic to Spanish (University of Barcelona) Arabic to Catalan (University of Barcelona) Spanish to Catalan (University of Barcelona)
Catalan to Spanish (University of Barcelona)
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Memberships
N/A
Software
Adobe Acrobat, DejaVu, memoQ, Microsoft Excel, Microsoft Office Pro, Microsoft Word, Powerpoint, Trados Studio, Wordfast
I am a native speaker of Spanish and Catalan, and I translate as a freelance from English and Arabic. Customer-oriented translations with focus on the final product.
I graduated in Translation and Interpreting at the UAB (Barcelona, Spain) in 2008, and I've devoted myself to languages ever since.
I'm currently studying a Master's Degree in Euromediterranean Relations, which gives me a deep insight into Current Affairs, International institutions, Political and Social Sciences and the Middle East & Arab World.
Education is my other passion: I have experience in teaching English as a foreign language, Spanish and Catalan. I'm well acquainted with the Pedagogy and Education vocabulary, and I can translate texts from both fields.
I have a long experience in translating documents from a wide array of specialty fields. I am well versed in:
- International Institutions / Development Aid
- Theatre and Literature
- Tourism
- Aviation
- Construction Materials
I can offer great enthusiasm for the job I do at the best rates!
Don't hesitate to contact me!
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