Собственную практику иногда так и хочется "обобщить".
Вопрос: " Для чего?" - не стоит.
А, может, и для дела кому сгодится?
Но вот, "понятно ли излагаю", не хромает ли стиль и, вообще, читабельно ли?..
Мнение заинтересованной аудитории особенно ценно.
ARABIC DIALOGUES IN RUSSIAN SCREENPLAY
"However, the director did not give us an instruction what Arabic language while translating the dialogues should be used. Although, logically, we could assume that our translation should not be done, of course, in Arabic writing, but in transcription. In the same time, his choice was crucial because, as Arabists know, Modern Standard Arabic (MSA) is, not like literary English, German, French or any other modern live language of international communication,a language of a live daily conversation. It is a language of writing and reading used in the official, cultural, educational, and media spheres. Although, in films, radio- and TV serials about modern life in the last two centuries local "colloquial Arabic" dialects are generally used. Above this, educated native speakers in Arabic countries also are using a simplified mixed version of their colloquial dialects enriched with many borrowings from MSA (mostly lexical ones - and highly adopted to the colloquial phonetics of the speakers ) - so called Formal Spoken Arabic (FSA). So it is now - and so was the language situation in the reality in 1984 -1991, too.
Taking advantage of our consulting position, we went to suggest a non-standard solution to this task. We suggested to make a speech of Arab characters of the film linguistically as close as possible to what it could have been in conformity with that time's real language situation in the Arab world (in accordance to the "national identity" of each Arab character of the screenplay), while not hesitating to provide the speech of the Arabist interpreters' characters with certain "translational" shape: possible errors and defects in pronunciation of the Arabists' characters during filming was suggested by us to be considered as normal, fully corresponding with these characters' true image as beginners and/or still young interpreters and, in general, people of a non-Arabic origin, for whom the Arabic language was not a mother tongue but a foreign language under non-stop study. In the same time, it became for them their rare capital equipment of a privileged profession of "sovzagranrabotnik" ("sovietabroadworker") who studied Oriental foreign language, received a diploma in translation and thus was considered as knowing this language to some extent - someone excellent, someone 'mush wa-la budd' ('so-so')- and by this way got a right to work abroad.
But there also was an additional kind of "Arabic" - a set of pidgin-like Russified Arabic words, phrases and "neologisms" common for Soviet specialists worked in different times in the Arabic countries and used within the specialists' local "colonies". The interpreters called it "khabirskij" - a "Khabirian" - from the Arabic word "khabiir" - "a specialist" (usually, in a colloquial speach - "a foreign specialist"). We suggested, when we would encounter such words and phrases in the characters' speech in the screenplay, we would also give our instructions how these all should be pronounced "in Habirian" in a right way."
Примечание: отрывок был ранее опубликован в LJ в порядке открытого обсуждения научно-практической работы (в процессе ее написания) для востоковедной конференции в Кракове (2010).