ABSTRACT
Stage and film musicals show differences and similarities in terms of translation and putting them together may help us delve deeper into drama translation practices and multimodality. This chapter will present a case study centred on Chicago, whose various Spanish target texts provide interesting information about the factors that impact on—and the effect produced by—the different translation and textual choices that can be made for one and the “same” work—hopefully also enhancing our understanding of the specificity of translating musical drama and musical cinema. The Spanish versions of Chicago will be analysed first from a macro-level perspective, focusing on the translated film so as to address questions of multimodality; the micro-textual level will centre on the strategies for the stage version, showcasing sung translation as an established drama translation practice for this genre in which music is an essential component of the semiotics of the performance text.
