Bernat Calvo · English to Spanish translator · Linguistics

Member since Dec '25

Working languages:

English to Spanish
English to Catalan
Spanish to Catalan
Catalan to Spanish
Catalan to English

Bernat Calvo

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Literature and gaming specialist. Others

Mataró, Cataluña, Spain

Local time: 14:05 CET (GMT+1)

Native in: Catalan

, Spanish

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Freelance translator and/or interpreter

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Translation, Transcreation, Editing/proofreading, Linguistic validation, AI + Human review (MT post-editing) , Software localization, AI training, Transcription

Specializes in:
Linguistics	Gaming/Video-games/E-sports
Music	Linguistic evaluation/cognitive debriefing
Media / Multimedia	Education / Pedagogy
Other

Open to considering volunteer work for registered non-profit organizations

General rate: 0.04 EUR per word / 15 EUR per hour

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Sample translations submitted: 3

English to Spanish: Tennessee Williams's 'Vieux Carré' General field: Art/Literary Detailed field: Poetry & Literature
Source text - English OPENING SETTING OF SCENE TWO. A FULL TEXT (INSTEAD OF DIALOGUE, WHICH THE OTHER EXTRACTS ARE). The writer has undressed and is in bed. Nightingale caughs- a fiendish, racking cough. He is hacking and spitting up bloody phlegm. He enters his cubicle. Then across the makeshift partition in the writer’s cubicle, unlighted except by a faint glow in its alcove window, another sound commences- a sound of dry and desperate sobbing which sounds as though nothing in the world could ever appease the wound from which it comes: loneliness, inborn and inbred to the bone. Slowly, as his coughing fit subsides, Nightingale, the quicksketch artist, turns his head in profile to the sound of the sobbing. Then the writer, across the partition, is dimly lighted, too. He also is sitting up on his cot, starting at the partition between his cell and Nightingale’s. Nightingale clears his throat loudly and sings hoarsely and softly a pop song of the era such as “If I Didn’t Care” or “Paper Doll.” Slowly the audience of one whom he is serenading succeeds in completely stifling the dry sobbing with a pillow. Nightingale’s voice rises a bit as he gets up and lights a cigarette; then he goes toward the upstage limit of the dim stage lighting and makes the gesture of opening a door. He moves into the other gable room of the attic and stands, silent, for several beats of the song as the writer slowly, relucantly, turns on his cot to face him.	Translation - Spanish El escritor se ha desnudado y está en la cama. Nightingale tose. Una tos diabólica y dolorosa. Tose y escupe flemas ensangrentadas. Entra en su alcoba. Al otro lado de la división provisional, la alcoba del escritor está oscura a excepción de un resplandor casi invisible desde el nicho de la ventana. Se escucha otro ruido, un sollozo desesperado que suena como si nada en el mundo pudiera calmar la causa que lo provoca: una solitud crónica e intrínseca. Lentamente, mientras la tos se calma, Nightingale, el dibujate de bocetos, gira la cabeza para escuchar los sollozos. Después, el escriptor, al otro lado de la divisuion, enciende una luz tenue. Tambien se sienta en la cama, mirando la división entre su alcoba y la de Nightingale. Nightingale carraspea ruidosamente y canta con vo ronca y suave una canción de pop de la época como “If I Didn’t Care” o “Paper Doll.” Lentamente, su único espectador se pone la almohada en la cara para reprimir el llanto. Nightingale alza la voz mientras se levanta y enciende un cigarro. Luego, se dirige al fondo del escenario, hasta la penumbra, y hace el gesto de abrir una puerta. Se va a la otra alcoba del ático y se queda quieto, en silencio, durante unos compases de la canción mientras el escritor se gira poco a poco, reticentemente, para mirarlo.
English to Spanish: Tennesse Williams' 'Vieux Carré' General field: Art/Literary Detailed field: Poetry & Literature
Source text - English INTIMATE DIALOGUE BETWEEN THE WRITER AND NIGHTINGALE, A COMPLEX CHARACTER WHO’S FRAGILITY IS HIDDEN UNDER A CYNICISM FAÇACE. FOCUSED ON THE DISCOMFORT SHOWN BY THE WRITER, AND THE WAY NIGHTINGALE JUMPS FROM TOPIC TO TOPIC TO KEEP TALKING. WRITER: ... I, uh... do need sleep. NIGHTINGALE: You need some company first. I know the sound of loneliness, heard it through the partition. [He has sat on the cot. The writer huddles away to the wall, acutely embarrased.] ... Trying no to, but crying... why try not to? Think it’s unmanly? Crying is a release for man or woman... WRITER: I was taught not to cry because it’s... humiliating... NIGHTINGALE: You’re a victim of conventional teaching, which you’d better forget. What were you crying about? Some particular sorrow or... for the human condition. WRITER: Some... particular sorrow. My closest relative died last month. NIGHTINGALE: Your mother? WRITER: The mother of my mother, Grand. She died after a long illness just before I left home, and at night I remember... NIGHTINGALE [giving a comforting pat]: Well, losses must be accepted and survived. How strange it is that we’ve occupied these adjoining rooms for about three weeks now and have just barely said hello to each other when passing on the stairs. You have interesting eyes. WRITER: In what way do you mean? NIGHTINGALE: Isn’t the pupil of the left one a little bit lighter? WRITER: ... I’m afraid I’m... developing a- cataract in that eye. NIGHTINGALE: That’s not possible for a kid. WRITER: I am twenty-eight. NIGHTINGALE: What I meant is, your face is still youthful as your vulnerable nature, they go- together. Of course, I’d see an oculist if you suspect there’s a cataract. WRITER: I plan to when I... if I... can ever afford to... the vision in that eye’s getting cloudy. NIGHTINGALE: Don’t wait till you can afford to. Go straight away and don’t receive the bill. WRITER: I couldn’t do that. NIGHTINGALE: Don’t be so honest in this dishonest world. [He pauses and coughs.] Shit, the witch don’t sleep in her bedroom you know. WRITER: Yes, I noticed she is sleeping on a cot in the hall now. NIGHTINGALE: When I came in now she sprang up and hollered out, “Who?” And I answered her with a hoot owl imitation, “Hoo, Hooo, Hooooo.” Why, the lady is all thre furies in one. A single man needs visitors at night. Necessary as bread, as blood in the body. Why, there’s a saying, “Better to live with your worst enemy than to live alone.” WRITER: Yes, loneliness is an- affliction NIGHTINGALE: Well, now you have a friend here. WRITER [dryly]: Thanks NIGHTINGALE: Of course, we’re in a madhouse. I wouldn’t tolerate the conditions here if the season wasn’t so slow that- my financial condition is difficult right now. I don’t like insults and la vie solitaire- with bedbugs bleeding me like leeches... but now we know each other, the plywood partition between us has been dissolved, no more just hellos. So tonight you were crying in here alone. What of it? Don’t we all? Have a cigarrette. WRITER: Thanks.	Translation - Spanish ESCRITOR: Hmmm... Tendría que dormir. NIGHTINGALE: Lo que necesitas es compañía. Sé lo que se siente estando solo, te he escuchado desde mi cama. [Se ha sentado en su cama. El escritor se arrima a la pared, visiblemente avergonzado.] Intentabas evitarlo pero estabas llorando. Por qué? Crees que es poco varonil? Llorar es una manera de desahogarse tanto para hombres como para mujeres... ESCRITOR: Me enseñaron que llorar es... humillante... NIGHTINGALE: Eres víctima de una educación convencional, la cual es mejor olvidar. Por qué llorabas? Por alguna cosa en concreto o... por condición humana? ESCRITOR: Por... una cosa en particular. Perdí a mi familiar más querido. NIGHTINGALE: A tu madre? ESCRITOR: A la madre de mi madre, mi abuela. Se murió tras una larga enfermedad antes de que me fuera de casa, y por las noches recuerdo... NIGHTINGALE [le da un golpecito en el hombro para consolarle]: Bueno, son cosas que hay que aceptar y superar. ¿No te parece raro que hayamos estado viviendo tres semanas pared con pared y hasta ahora prácticamente ni nos saludábamos cuando nos cruzábamos en las escaleras? Tienes unos ojos interesantes. ESCRITOR: A qué te refieres? NIGHTINGALE: Tienes la pupila izquierda más clara, no? ESCRITOR: Creo que se me está haciendo una catarata en este ojo... NIGHTINGALE: No puede ser que un chico tan joven tenga una catarata. ESCRITOR: Tengo veintiocho años. NIGHTINGALE: Quería decir que tienes un rostro juvenil y también que eres vulnerable, estas cosas van una con la otra. Si yo fuera tu, iría a un oculista. ESCRITOR: Quiero ir cuando... pueda permitírmelo... la visión de este ojo se me está volviendo borrosa. NIGHTINGALE: No esperes hasta que puedas pagarlo. Cuando te llegue la factura, la tiras. ESCRITOR: No podría hacer tal cosa. NIGHTINGALE: No se puede ser tan honesto en un mundo tan inmoral. [Pausa y tose.] La vieja no duerme en su habitación, lo sabías? ESCRITOR: Sí, he visto que ahora duerme en una cama que hay en el vestíbulo. NIGHTINGALE: Ahora, cuando he llegado, se ha levantado de golpe y ha chillado, “¿Quién?” y he respondido imitando a un búho, “Hoo”, “Hooo”, “Hooooo.” Esta señora tiene muy mal carácter. Un hombre solitario necesita compañía por las noches, tanto como el aire que respira. Por eso hay el dicho, “Mejor vivir con tu peor enemigo que solo.” ESCRITOR: Ya, la soledad es... terrible. NIGHTINGALE: No pasa nada, ahora me tienes a mi. ESCRITOR [con indiferencia]: Gracias. NIGHTINGALE: Pero este sitio es una casa de locos, no aceptaría estas condiciones si no estuviéramos en temporada baja. No voy bien de pasta. No me gusta que me insulten ni “la vie solitaire” con bichos picándome cada noche... pero ahora nos tenemos el uno al otro, la división que había entre nosotros ha desaparecido. Así que estabas llorando, y qué? No lloramos todos? Toma, un cigarrillo. ESCRITOR: Gracias.
English to Catalan: Tennessee Williams' 'Vieux Carré' General field: Art/Literary Detailed field: Poetry & Literature
Source text - English CONFRONTATION SCENE WHERE THE PACE QUICKENS AND THE CHARACTERS CLASH WITH INTENSITY. THE TRANSLATION AIMS TO CAPTURE THE REALISM AND DRAMATIC TENSION. JANE: Tye. TYE: Huh, baby? TYE: It’s a damn good story. What’s your objection to it? I ain’t got to the part that’s really funny. [He speaks to the writer, who is crossing out of the light.] Don’t you like the story? [The writer exits.] JANE: Why did you do that? TYE: Do what? JANE: You know what, and the boy knew what you meant byt it. Why did you want to hurt him with the implication that he was in a class with a common, predatory transvestite? TYE: Look Jane... you say you was brought up on high ground, good elevation, but you come in here, you bring in here and expose me to a little queer, and... JANE: Does everyone with civilized behavior, good manners, seem to be a queer to you? TYE: ... Was it good manners the way he looked at me, Babe? JANE [voice rising]: Was it good manners for you to stand in front of him rubbing your- groin the way you did? TYE: I wanted you to notice his reaction. JANE: He was just embarrassed. TYE: You got a lot to learn about life in the Quarter JANE: I think that he’s a serious person that I can talk to, and I need some one to talk to! [Pause] TYE: You can talk to me huh? JANE: With you working all night at a Bourbon Street strip-joint, and sleeping nearly all day? Involving yourself with all the underworld elements of this corrupt city… TYE: ‘Sthat all I do? Just that? I never pleasure you, Babe? [Fade in piano blues. She draws a breath and moves as if half asleep behind Tye’s chair.] JANE: Yes, you- pleasure me, Tye. TYE: I try to do my best to, Babe. Sometimes I wonder why a girl- JANE: Not a girl, Tye. A woman. TYE: -How did- why did you get yourself mixed up with me? JANE: A sudden change of circumstances removed me from- how shall I put it so you’d understand? TYE: Just- say JANE: What I’d thought was myself. So I quit my former connections, I came down here to- [She stops short.] Well, to make and adjustment to- [Pause.] We met by change on Royal Street when a deluge of rain backed me into a doorway. Didn’t know you were behind me until you put your hand on my hip and I turn to say. “Stop that!” but didn’t because you were something I’d never encountered before- faintly innocent- boy’s eyes. Smiling. Said to myself, “Why not, with nothing to lose!” Of course you pleasure me, Tye!- I’d been alone so long… [She touches his throat with trembling fingers. He leans sensually back against her. She runs her hand down his chest.] Silk on silk is- lovely… regardless of the danger. [As the light on this area dims, typing begins offstage. The dim-out is completed.]	Translation - Catalan JANE: Mel. MEL: Què passa, nena? JANE: NO continuïs aquesta història. MEL: És una història fotudament bona, per què no t’agrada? Encara no he arribat a la part graciosa. [Li parla a l’escriptor, qui està sortint de la zona il·luminada.] No t’agrada l’anècdota? [L’escriptor surt.] JANE: Per què has fet això? MEL: Fer el què? JANE: Ja saps el què. I el noi sabia què pretenies amb això. Per què li has volgut fer mal donant a entendre que té alguna cosa en comú amb un transvestit depravat. MEL: Mira, Jane... Dius que vas créixer en una zona elevada com si fossis superior a la resta. Però vens aquí, portes aquest marica, m’exposes a ell, i... JANE: Creus que tothom amb bon comportament i bons modals és homosexual? MEL: Aquella manera de mirar-me... eren bons modals, xata? JANE [alçant la veu]: I eren bons modals quan t’has aixecat i t’has tocat l’entrecuix d’aquella manera davant seu? MEL: Volia que veiessis la seva reacció. JANE: Simplement estava avergonyit. MEL: Encara has d’aprendre molt de la vida al Veïnat. JANE: Crec que és una persona civilitzada amb qui parlar. Necessito algú amb qui parlar! [Pausa.] MEL: No pots parlar amb mi, eh? JANE: Treballes tota la nit en aquell antre de strip-tease al Carrer Bourbon i dorms tot el matí. Participes activament amb tota la púrria d’aquesta ciutat corrupta... MEL: Això és tot el que faig? No et dono plaer, nena? [S’escolta un piano de blues. La Jane agafa aire i es situa darrera la cadira on és en Mel, mig adormida.] JANE: Si, clar que... em dones plaer, Mel. MEL: Ho faig el millor que puc, xata. A vegades em pregunto perquè una noia... JANE: No soc una noia, Mel, sóc una dona. MEL: Per què estàs amb mi? JANE: Un gir inesperat dels esdeveniments va fer que m’allunyés de... com dir-ho perquè ho entenguis? MEL: Digues-ho i ja. JANE: Del que creia que era la meva vida. Així que vaig acabar amb tot el que m’hi relacionava, vaig venir aquí per... [Para en sec.] Bé, per arreglar... [Pausa.] Ens vam conèixer per casualitat al carrer Royal quan em vaig aixoplugar en un portal. No sabia que estaves allà fins que vas posar-me una mà a la cintura i em vaig girar per dir-te que paressis, però no ho vaig dir perquè eres quelcom que mai havia vist fins llavors. Mirant-me amb bons ulls i somrient. Em vaig dir “per què no, si no tinc res a perdre?” Clar que em dones plaer, Mel! He estat sola durant tant de temps... [Ella li toca la gola amb dits tremolosos. Ell s’apropa cap a ella de manera sensual. Ella baixa la mà cap al seu pit.] El tacte de la seda amb la seda és...agradable... tot i el perill. [A mesura que s’apaga la llum d’aquesta zona, s’escolta un tecleig fora de l’escenari. La llum s’apaga del tot.]

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English to Spanish (Universitat de Barcelona)

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Bio

I am a professional translator
from English to Spanish and Catalan with almost 10 years of experience.

I specialize in videogames, marketing, literature,
education, casinos and gambling, multimedia and entertainment, website
localization, sports, and music in the combinations English >
Spanish/Catalan and Spanish <> Catalan.

With nearly ten years of professional experience, I have
collaborated with clients from various sectors, including the National Theatre
of Catalonia, which has allowed me to develop both versatility and a keen
sensitivity to linguistic and cultural nuances.

I hold a BA in English Studies from the University of
Barcelona and a Master’s degree in Videogame Translation and Localization
(ISTRAD), qualifications that strengthen both my linguistic expertise and my
ability to adapt to a wide range of registers and contexts.

I offer accuracy, punctuality, and a strong commitment to
quality, convinced that a well-crafted translation is essential to conveying
messages effectively and faithfully to the target audience. I would be
delighted to put my experience and skills at your service and contribute to the
success of your projects.

Keywords: English, Spanish, Catalan, marketing, videogames, localization, translation, IA, websites, literature. See more.English, Spanish, Catalan, marketing, videogames, localization, translation, IA, websites, literature, sports, music. See less.

Profile last updated
May 18

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