В нашем конкретном случае фонетической стилизации, автор, то есть режиссер фильма создает образ девушки-цветочницы с помощью ее диалекта. Сохраняя наиболее яркие, важные и характерные детали диалекта и отметая второстепенные, ненужные, он тем самым адаптирует реальность (диалект кокни) под нужды своего искусства (киноиндустрии). И действительно, нужен ли в данном фильме образ, абсолютно идентичный натуральному? Очевидно, что нет, потому что, во-первых, данного стилизованного варианта вполне достаточно для создания определенного художественного образа, а во-вторых, вполне вероятно, что понимание натуральной речи кокни было бы невозможно для большинства зрителей данной картины, что противоречит как целям киностудии, так и целям зрителей.
Итак, стилизация – важное явление в искусстве, необходимое для декламационного стиля речи, широко применяемое при озвучивании художественного диалога.
Episode 1
THE GENTLEMAN. May I ask, sir, do you do this for your living at a music hall?
THE NOTE TAKER. I've thought of that. Perhaps I shall some day.
THE FLOWER GIRL. [resenting the reaction] He's no gentleman, he ain't, to interfere with a poor girl.
THE GENTLEMAN. [returning to his former place on the note taker's left] How do you do it, if I may ask?
THE NOTE TAKER. Simply phonetics. The science of speech. That's my profession; also my hobby. Happy is the man who can make a living by his hobby! You can spot an Irishman or a Yorkshireman by his brogue. I can place any man within six miles. I can place him within two miles in London. Sometimes within two streets.
THE FLOWER GIRL. Ought to be ashamed of himself, unmanly coward!
THE GENTLEMAN. But is there a living in that?
THE NOTE TAKER. Oh yes. Quite a fat one.
THE FLOWER GIRL. Let him mind his own business and leave a poor girl--
THE NOTE TAKER [explosively] Woman: cease this detestable boohooing instantly; or else seek the shelter of some other place of worship.
THE FLOWER GIRL [with feeble defiance] I've a right to be here if I like, same as you.
THE NOTE TAKER. A woman who utters such disgusting and depressing noise has no right to be anywhere--no right to live. Remember that you are a human being with a soul and the divine gift of articulate speech: that your native language is the language of Shakespeare and Milton and The Bible; and don't sit there crooning like a bilious pigeon.
Episode 2
MRS. PEARCE [returning]. This is the young woman, sir.
HIGGINS [brusquely, recognizing her with unconcealed disappointment, and at once, baby-like, making an intolerable grievance of it]. Why, this is the girl I jotted down last night. She's no use: I've got all the records I want of the Lisson Grove lingo; and I'm not going to waste another cylinder on it. [To the girl] Be off with you: I don't want you.
THE FLOWER GIRL. Don't you be so saucy. You ain't heard what I come for yet. [To Mrs. Pearce, who is waiting at the door for further instruction] Did you tell him I come in a taxi?
MRS. PEARCE. Nonsense, girl! what do you think a gentleman like
Mr. Higgins cares what you came in?
THE FLOWER GIRL. Oh, we are proud! He ain't above giving lessons, not him: I heard him say so. Well, I ain't come here to ask for any compliment; and if my money's not good enough I can go elsewhere.
HIGGINS. Good enough for what?
THE FLOWER GIRL. Good enough for ye--oo. Now you know, don't you? I'm come to have lessons, I am. And to pay for em too: make no mistake.
HIGGINS [stupent] WELL!!! [Recovering his breath with a gasp] What do you expect me to say to you?
THE FLOWER GIRL. Well, if you was a gentleman, you might ask me to sit down, I think. Don't I tell you I'm bringing you business?
HIGGINS. Pickering: shall we ask this baggage to sit down or shall we throw her out of the window?
THE FLOWER GIRL [running away in terror to the piano, where she turns at bay] Ah--ah--ah--ow--ow--ow--oo! [Wounded and whimpering] I won't be called a baggage when I've offered to pay like any lady.
Motionless, the two men stare at her from the other side of the room, amazed.
PICKERING [gently] What is it you want, my girl?
THE FLOWER GIRL. I want to be a lady in a flower shop stead of selling at the corner of Tottenham Court Road. But they won't take me unless I can talk more genteel. He said he could teach me. Well, here I am ready to pay him--not asking any favor—and he treats me as if I was dirt.
MRS. PEARCE. How can you be such a foolish ignorant girl as to think you could afford to pay Mr. Higgins?
THE FLOWER GIRL. Why shouldn't I? I know what lessons cost as well as you do; and I'm ready to pay.
HIGGINS. How much?
THE FLOWER GIRL [coming back to him, triumphant] Now you're talking! I thought you'd come off it when you saw a chance of getting back a bit of what you chucked at me last night. [Confidentially] You'd had a drop in, hadn't you?
HIGGINS [peremptorily] Sit down.
THE FLOWER GIRL. Oh, if you're going to make a compliment of it--
HIGGINS [thundering at her] Sit down.
MRS. PEARCE [severely] Sit down, girl. Do as you're told. [She places the stray chair near the hearthrug between Higgins and Pickering, and stands behind it waiting for the girl to sit down].
THE FLOWER GIRL. Ah--ah--ah--ow--ow--oo! [She stands, half rebellious, half bewildered].
PICKERING What’s your name?
LIZA Eliza Doolittle.
PICKERING [very courteous] Won't you sit down, Miss Doolittle?
LIZA [coyly] Don't mind if I do. [She sits down. Pickering returns to the hearthrug].
HIGGINS. What's your name?
THE FLOWER GIRL. Liza Doolittle.
HIGGINS. Come back to business. How much do you propose to pay me for the lessons?
LIZA. Oh, I know what's right. A lady friend of mine gets French lessons for eighteenpence an hour from a real French gentleman. Well, you wouldn't have the face to ask me the same for teaching me my own language as you would for French; so I won't give more than a shilling. Takeitorleaveit.
Список используемой литературы
1.Якубинский Л.П. Избранные работы: Язык и его функционирование. - М., 1986.
2. Щерба Л.В. Восточно-лужицкое наречие, т. 1. Пг., 1915.
3. Соколова М.А.и др. Практическая фонетика английского языка.
4. Бахтин М.М. Собр. соч. Т.2. М., 2000
5. Мейерхольд Вс. Статьи. Письма. Речи. Беседы. Ч.
6. Советский Энциклопедический Словарь «Советская энциклопедия» М. 1982.
9. Edgar Alan Poe The Works of Edgar Alan Poe – Volume 2: The Black Cat www.gutenberg.org.
10. Б. Шоу Пигмалион М. «Высшая школа» 1972.
11. Материалы сайта www.Wikipedia.com.