1. Culture and Translation
The first chapter focuses on defining the basic terms of culture, translation and translator and how they interact, how the second term could not exist without the first and how important it is for a translator to thoroughly know both the SL and the TL with their cultures in order to properly grasp the meaning and then transmit the message accurately to their readers. Furthermore, we shall also deal with the basic elements required for an accurate translation, everything supported by examples; we shall also focus on presenting different types of humour, on how culture influences humour and reasons for humour in translation. Issues that a translator must take into account and observe, such as grammar, context, syntax and lexical content are equally essential and their importance will also be highlighted. We also intend to present a brief but useful comparison between the British and the American culture in terms of their impact on humour.

The Importance of Culture in Translation
Culture may carry a multitude of definitions, in accordance to the field in question, for instance anthropology or humanities, sociology or psychology. Starting from this idea, numerous scientists provided explanations about their connections with society and its people, their mentality, behaviour, about the language they speak, the education they were given at school and at home, their customs, and the spheres that define a society: arts, mythology, philosophy, literature. According to Zimmermann, culture is a broad term that covers various features that characterize a society, i.e. “characteristics and knowledge of a particular group of people, encompassing language, religion, cuisine, social habits, music and arts” (Livescience). Each of the aforementioned domains influences the evolution of a person, and then of a group, of a society, from various perspectives: rationally, psychologically, culturally, relationally, from an educational point of view. Moreover, it is suggested in the Cambridge Dictionary that it is “the way of life, especially the general customs and beliefs, of a particular group of people at a particular time” (Cambridge.dictionary).
One may say that we are all people, but fortunately everyone is different. A situation that may also apply to all the cultures around the world, each providing diverseness, particular visions and certain truths. Another significant definition that has been provided by Dr. Al-Hassan, is that: “culture may be defined as the whole way of life, which consists of the mores of a given society; their religion, values, traditions, habits, educational systems, family and social structures, political and governmental hierarchies, and use of advanced technology” (4). We may easily come to the idea that everyone is defined by his/her culture, however no one is impelled to lessen their foresight to only one when there are so many. Therefore, culture is a method through which a society or a group of people identifies itself among others of the same nature, but at the same time, having divergent traits, personalities, behaviours or social habits.
We acknowledge that providing a definition of the translation process shall help us figure out the importance of culture in translation and the relation between them and their interaction. To write down information implies creating among others, also of a translation, whereas interpretation relates with spoken information. The source text (ST) is the one which has to be translated while the language into which it has to be translated is called the target language (TL). According to the website entitled Streetdirectory, “translation is the action of interpretation of the meaning of a text, and subsequent production of an equivalent text, also called a translation, that communicates the same message in another language.” The outstanding and inseparable connection between culture and translation generates a challenge that any translator has to deal with. Thus, translation automatically implies two languages and this signifies that not only both languages, but also both cultures have to be completely tackled and understood. In conclusion, translation represents a process that, apart from the cultures, it implies two different languages, a source language and a target language, the purpose being to comprehend the message and its meaning transmitted from the former into the latter.
As we have seen, there have been offered definitions for both culture and translation terms, which is why it is high time that a translator’s definition was brought into attention. He is the person who performs the act of translation, creating an authentic artwork. Dr. Al-Hassan observes that “a translator is a cultural mediator, who may move from the source culture to the target culture, choosing as much as he/she thinks appropriate to serve the aim of the translation” (6-7). One of the main qualities of the mediator is flexibility or adaptability according to the text in discussion, so that the message is properly transmitted and then grasped by the audience. A translator should be able to take into consideration “the context, the rules of grammar of the two languages, their writing conventions, and their idioms.” As we have been talking about adaptability, the person who translates also has to comply with any required rules or standards. Once this happens, the translator may easier understand the differences between, for example, “the way French is spoken in European countries and in Canadian states and the same goes with English too” (ezinearticles). Moreover, a translator`s reason for translating from language X to language Y is not only to cultivate the language Y culturally, but also linguistically.
It is compulsory for a translator to accomplish his piece of art between the limits of familiarization and foreignization, but leaning too much towards one or another may cause the reader’s misunderstanding of the message. Al-Hassan remarks that “in order to avoid a situation like this, translators also have to look out for the lexical content and syntax, as well as ideologies, value systems and ways of life in a given culture” (3). In consequence, a translator has to be familiar with the audience, its culture, as well as the SL and TL, in order for him to complete an art work that shall be accepted and easily perceived by its readers.
Given the fact that a translator deals with many types of texts that cover various fields of activity such as medicine, history, literature, engineering, technology, economic, legal right and this are just a few, his knowledge should be profound and wide. According to Dr. Al-Hassan, there are three types of texts which are connected with translation and culture. The first one is considered to be a part of the “universal culture” term, this text being the scientific one. In this case, the translator is said to perceive facts and ideas, being more interested in the content, and “least interested in the cultural context of the text,” as this one resembles in both the target and the source language, so that he acts and creates “within a neutral culture.” The second one is given by advertisements and they are “culture specific and normally cannot be translated,” wherefore they are written in the new language again. The third type belongs to the same class as the second one and it is illustrated through “religious politeness expressions” (5). As we live in a world that frequently changes, new information is provided and different ideas occur over night, we can agree with the fact that terms, texts or their relation may simply change from time to time. Consequently, translation and culture being so much connected with each other, a translator should be acquainted with changes that may occur within both source and target cultures over the time.
There are essential features which must be taken into consideration within the translation process and shall help the translator provide an accurate translation so that the message can be efficiently communicated and perceived. Carter points out that these are called “Key cultural elements” and one of these is to check “the connotation of the product name in a foreign language, as there may be different meanings of the same word in different languages.” The second one is to examine “the target audience, the grammar, punctuation and vocabulary.” The third element is represented through traditions, so that the translator must do research whether it is about a marriage or a funeral in a certain culture, customs are different and they should be well understood in order for the message to be accurately transferred by the translator and thus comprehended by its readers. The fourth one would be the knowledge of “pictures, symbols and color as the same picture might have negative connotation in some other country” (ezinearticles). The last but not the least factor is humour, which also differs according to its cultural environment. This is an element that must be understood and accepted by the target audience. These elements definitely help the translator to apply essential steps in order for the audience to receive and understand the message. However, humour may be an issue, considering that there are different mentalities, some people are more sarcastic than the others, this making the humour translation very tricky and a delicate subject of discussion. This latter element that marks our everyday life, will be more detailed and discussed within the next subchapter.
Reasons for Humour in Translation
Humour is a topic which may be discussed starting from a psychological point of view to a cultural one. It is a contagious phenomenon which exists between people, irrespective of their age, providing a huge pleasure and a great stress release. In time, many and well-known investigators and analysts have tried to define it, including Charles Darwin, Freud or Immanuel Kant. However, its existence is still not completely characterized or determined. If we are to define humour, such as Spanakaki sustains, we could simply assert that it is “an essential part of everyday communication and an important component of innumerable literary works and films and of art in general” and “an indispensable part of intercultural communication and mass entertainment.” There are artworks that could definitely not exist without humour and its huge advantages. Furthermore, humour may be characterized as the “physical laughter, that strange convulsion as an apparently unambiguous outcome and sign of a psychological reality, or smiling, or even an “inner” feeling which comes close to laughter, makes the ordinary language concept of humour usually unquestioned,” a definition which helps us see its importance (Vandaele, 237). We may acknowledge the fact that us, as humans, could not live, be positive, enjoy life, evolve and thrive without humour. According to Jackson, there are unanswered questions about humour, such as: “Why is it important and meaningful to us? Why does it bring us pleasure?” (psychologytoday).

As we shall see later in the third subchapter, humour is highly connected with and influenced by culture, and it could not travel around the world, from region to region, from one country to another, without language, and to be more accurate, without translation. In order to highlight the reason of humour in translation, an appropriate method would be the comparison of two distinct cultures and their languages. These are British and American cultures and one is considered to be the mother of the other one. According to Gervais, one principal feature that defines the difference between American and British cultures is related to humour “there’s a received wisdom in the U.K. that Americans don’t get irony. This is of course not true. But what is true is that they don’t use it all the time. It shows up in the smarter comedies but Americans don’t use it as much socially as Brits.” He sustains that Brits may look “mean-spirited in the U.S.” as they “drop irony and sarcasm on arriving, finding that Americans take the comments seriously” (Time).
Different as we may be, this is exactly what connects us, arouse our curiosity and even entertain our minds. In conclusion, even though humour does and always will differ from one culture to another, a factor that determines us to be unique as a society, a country or a people, there will always be reasons for humour in translations. Therefore, culture, humour and translation are highly connected to each other and a translator`s job is to know how to deal with this kind of relation and acknowledge the fact that translator’s familiarity of both the source and target languages, their cultures and types of humour is essential in order for a translation to be approved by its readers.
Hereafter, let us see, acknowledge and understand the more and more reasons to translate humour, even though this translator’s activity is tricky and difficult, a “road” full of many challenges and obstacles. As we have already observed, a translation of humour requires a translator who is very familiar with the language, culture and kinds of humour of both source and target languages. Some may say that humour cannot be translated, but here we cannot speak about impossibilities. Even though cultural and linguistic attitudes are very deeply rooted in every country around the world, one would believe that with the help of an innate talent of humour and a wide knowledge, a translator can easily surmount these obstacles.
Besides the fact that we are humans and we aspire after humour, to laugh, to spend entertaining moments, to be happy and feel overjoyed, we may also have opportunities to come across a diversity of kinds of humour that exist all around the world, waiting for us to grasp and taste them, to enrich our perspective and make ourselves more cultured. It is not only a technique in order to know oneself better, but also a perfect method to connect with diverse and unique people, be they within a community, a nation or a family. According to Han, humour includes: “comical situation, comical words/language, culture, different intellectual level, need of humour, mood of interlocutors, adequate time and, of course the effects of humour, for instance, the laughter” (579). These features are undeniably fundamental for humour to happen, irrespective of the somebody’s name, race, religion or nationality. Therefore, humour is challenging, complicate to translate, but this is exactly what makes it not only indispensable, significant, but also desired and stimulating.
To understand the way humour takes place anywhere in the world, one should know that what also matters about humour is people’s attitude regarding others’ lifestyles which could create comical situations without offending anyone, whether in a movie, a book or a magazine, as we shall see in the third subchapter as well. The same author mentions that “to be snooty about Americans, while slavishly admiring them; this is another crucial characteristic of being British” emphasizing their opposite perspectives and beliefs. Moreover, Hargis states that “Many of us arrive here with the belief that our English is the real English” and “we Brits often attribute “new” (and unwelcome) words to the American influence on our culture when, in fact, the word at fault originated in the U.K.” He also agrees with the idea that “the U.S. is much more of a “can do” place than our homeland, with its “Yes, but…” attitude” and they do not disguise their dreams and concerns, they encourage “ambition and openly reward success,” while British people “are more comfortable with life`s losers.”
Furthermore, Hargis mentions that “Americans are brought up to believe they can be the next president of the United States. Brits are told, ‘It won’t happen for you.” This is another reason for people to understand each other`s cultures, so that inappropriate jokes might not be said or misunderstood. The fact is also acknowledged that English and Australians have much more in common as opposed to Americans as “there’s the more London-sounding accent in Australia and a common penchant for using words like biccie for biscuit” (bbcamerica). Distinct or similar cultures, this should not be an impediment for any translator or interpreter, he/she must know how to deal with such a situation. In conclusion, there are civilizations which may be more or less similar in certain aspects of everyday life, wherefore a translator must be acquainted with both similarities and dissimilarities of the source and target cultures languages.
We may agree with the fact that there may be as many humour genres as there are nationalities or countries. For example, there is the American humour, the British humour, the Chinese Humour, the Arabic humour, etc., each having its own peculiarities and oddities. With respect to our discussion, let us define the American and the British humour, as they are dissimilar and unique, an absolute reason for humour in translation. Blair specifies that American Humor “is more easily understood than defined” (3). Compared to other types, the American humor may be more complicated to define as it has been conceived after the British one. Keough mentions that Fred Allen, Woody Allen, Steve Allen are representative names for the American humour. Moreover, he declares that “the point of an American joke is called the punch line” as long as “this language of death is one shared by our greatest literary comedians and film comics, and since violence, both as subject and method is at the root of much American humor.” Furthermore, Keough affirms that according to Mark Twain, “Americans are not Englishmen, and American humor is not English humor; but the American and his humour had their origin in England, and have merely undergone changes brought by changed conditions and environments” (1). It is acknowledged that there is a considerable influence of the British humour on the American one that generated from the former, however the latter is without equal and special among the others that exist.
Now let us continue, providing traits that help us understand the British humour and its uniqueness. It is affirmed that “almost every conversation between Brits is bound to feature some form of irony, sarcasm, banter, understatement, self-deprecation, teasing or mockery” (Britsinpieces). All these features may create perplexing situations as others may not realize when British people really joke without being serious. As reported by Keough, a question was raised for the nineteenth-century students of the Oxford Student Union by Alan King and Steve Allen, which is “whether American humor is funnier than British humour,” the result being that American humor is characterized through: “rawness, cruelty and lack of restraint” (5). Nevertheless, it was awarded with the most laughs. Humour may be one of the best techniques of becoming familiar with a certain culture or language. The opportunity of meeting with new circumstances, distinct kinds of humour not only help us connect with each other, but also to discover our personal soul. Therefore, all these definitions and characteristics provide us valuable information about how contrasting two cultures may be, even though one was born from the other, thus creating a strong argument for humour in translation.

Humour or humor loses something through translation, however the latter is the only method by which it can be spread, revealed and transferred from one culture to another. Even politicians are demanded to be acquainted with various kinds of humour existing around the world, as when they travel abroad for conferences and business meetings to be prepared and able to communicate, inquire and challenge others effectively and appropriately. Emma sustains the belief that “one of the most common differences between the British and American sense of humour is that Americans don’t understand irony.” Unlike the latter, British people use it every day, whereas American people are used to specify the fact that they “were only kidding.” In this article, Emma also mentions that American`s jokes are more obvious than the British ones, which are “more subtle but with a dark or sarcastic undertone” (lexiophiles). This contradictory features provide us the fact that there are kinds of humour for all types of people, we only have to embrace the one(s) that satisfy or amuse us.
To receive and understand these two senses of humour, there may be many possibilities, such as whether one lives or has lived in those places, being familiar with both of them, he is passionate about humour so he managed to gather enough information and data, or he/she asks for a translator’s help and knowledge. What is really unique about British humour is that, “in refusing to be overwhelmed by anything, the British choose “emotionless statements,” such as “Not bad” when they really mean, “That’s actually quite good” (Britsinpieces). If we are to describe these statements, we may honestly affirm that anyone who is not acquainted with their kind of humour might be misconceived. Pegg points out that unlike Brits, Americans “are not embarrassed by their emotions” for which reason “they clap louder, cheer harder and empathise more unconditionally” (theguardian). Such an attitude absolutely makes them look much more accessible and available and facilitate their relationships. In conclusion, the British and the Americans are quite acquainted and familiar with their dissimilarities and differences regarding humour or humor, creating interesting and amusing subjects of discussion.
Another purpose for humour in translation is to apprehend the books, the comedies, magazines, papers that include and promote humour. According to Sklar, in his article “Humor in America,” the great American Humorist, Mark Twain stated that the real hilarious thing about American humor “was not the story but the telling of it — the ability of the storyteller to assume the comic mask and vernacular dialect, and tell the story in a completely dead-pan manner, as if he really were the bewildered, ridiculous butt of the tale” (115). In time, more exactly in the early decades of the twentieth-century, new variety of entertainment appeared, such as the “motion picture as a new art” (116). It is a natural talent to pretend to be a certain character, to interpret its features so well that those around you become completely amazed and shocked and willing to see and laugh more. Along with Mark Twain, another important artist, Charlie Chaplin who succeeded in using “the opportunities for the comic mask” in an ingenious way marked the history of humour in America and of course affecting everything that followed. According to Michalik and Sznicer, both suggest the fact that “the Americans and the British appear to be culturally similar.” Moreover, they “speak the same language and share the same behaviour profile,” features which make them akin to a certain extent (28). As long as one has been created out of the other, it is ordinary that they may resemble to a certain extent. Therefore, American humor distinguishes itself through its main artists who created its basis for what it is to come, its unique features, time and place of using it.

Reasons to translate humour and make it travel around the world grow in number due to the fact that it develops and produces an overwhelming positivity. For example, humour is practiced even at work, being a vital detail of any organizational culture within a company, irrespective of its size or recognition, because it is beneficial for its members. A company, a society or even a plant is the place where different nationalities may relate to each other, irrespective of race, religion, nationality. These latter features may be attributed to societies all over the world and they should stop be a barrier for the others, even when it comes about humour translation and its acceptance. We have seen that humour is manifested and used at various times and places, and another reason for translating humour would definitely be the comedy. Nowadays, humour is highly outlined through comedies, whether we talk about Britain, America, Europe or Africa. We must recognize that we love to laugh, which is a pleasure without comparison for the entire body, for the brain and mind so that the comedy may be a perfect way to relax ourselves.
According to Pegg, in case that one may try to find out “the differences between British and American comedy he/she shall reach to the conclusion that, ironically, they’re pretty much the same.” Whether an American is asked “what they perceive British comedy to be?,” a high probability is to hear about Benny Hill and Are You Being Served? On the other side of the Atlantic, “the sitcom Friends, for instance, a show often dismissed by the cynical as “cheesy” or “schmaltzy” – and certainly capable of being both – was wholeheartedly adopted by the British public” as well as by others around the world. The American TV series M*A*S*H and The Simpsons, which “is a remarkable show in that, in what is essentially a children’s medium, it has established itself as a constant and often highly critical reflection of America itself.” Moreover, The Office is a perfect example of how edgier comedy can work on a grand scale on both sides of the Atlantic” (theguardian). Comedies are certainly an appropriate way of portraying a society, its basic principles and ideals. Of course, there are many other comedies that interlink these two similar and dissimilar societies at the same time. Therefore, despite all the differences between two or more cultures, humour is a visible feature that can help people overcome many barriers they have built up between them, within large or small groups.
How does American or English Culture Affect Humour?
We have already come to the idea that humour is deeply influenced by culture, a feature that may simply and well define an entity as human, group, people or society. Positive and satisfying outcomes of humour have been shown till now, but it is high time that we talked about the negative effects as well, just as the two sides of any coin. Everyone is unique, feels, loves and perceives things and situations in a very special way, a characteristic that makes everyone be so different. Because of cultural dissimilarities, a principal dilemma that may occur when humour is delivered is how it is perceived by listeners or readers. This is the moment when the translator intervenes and applies his knowledge and abilities in order to communicate the message. For example, we have already discussed the fact that humour is also used at work, and according to Michalik and Sznicer, “when ill-timed, confusing or communicated poorly, it can lead to destruction and frustration and increase levels of stress which are usually already high in a strongly competitive environment.” As such, it is not only crucial to be acquainted with others’ types of humour, but also to accept and respect them as they are. Moreover, people around the world should stop using “sexist, racist, or ethnic humour that offends the values of others” and start trying to comprehend their culture, beliefs, habits and even feelings (25). As far as energy connects us and we also transmit it to others, we are also able to express and pass on wonderful and positive vibes, thoughts and feelings, no offenses or bad words.
Because of cultural differences, there are created many stereotypes and they definitely affect someone`s self-esteem as long as that someone is humiliated and negative words are sent towards him/her. However, we consider that cultural differences are not guilty for these problems, but people who try to annoy, punish or constrain those who are in minority for any reason, of different race, skin colour, religion or nationality. Therefore, we are oriented to believe that American, British or even Chinese cultural disparities that affect humour and make us be different as peoples are exactly those features that may help us see how very much alike we are as humans.
Whether one lives in America, in Britain or another part of the world, his/her culture from that country will always influence the various types of humour that already exist, as well as those transferred from other nations. According to Calbo, “what one culture finds funny, another may find it not that funny or even insulting” (prezi). Everything depends on how we perceive and tolerate this kind of situations which definitely defines us as humans. One important element to take into consideration concerning the influence of American or British cultures upon humour would be their approach to humour related to work. Michalik and Sznicer assert that unlike the American attitude, the British one does not “put a firm dividing line between work and leisure” and work is seen as “the extension of life so humor carries over into the sphere of business and adds color to the workplace as it does outside” (27). Humor clearly improves not only our everyday life, but the time spent at work as well. On the other side of the Atlantic, “they tend to take business more seriously—and a sense of humour tends to suggest you are not a deeply devoted corporate person” (Barsoux, 1993, 153). This principle is not necessarily true, and those who believe the opposite, may lose an exceptional opportunity of getting rid of stress-induced situations. Even though Americans love to joke, they do not mix humour and business, having a distinct perspective of the humour-work relation than British people do.

Americans are still motivated by the traditional national imperative of making advances, transforming the environment, initiating change, and reaching their destination. They value individual liberty and economic opportunity. They believe that they are free to be whoever they want to be. To achieve this, they have the right to make personal choices. Hard work is a means to transform the lives of individuals and so work is equated with success, time is money, and business is no laughing matter. (Michalik and Sznicer , 28)
Romero and Cruthirds assert that “with some careful thought and preparation, anyone can be successful at using humour appropriately in organizational settings” (67). Thus, humour can be put into practice anywhere, anytime, in a conference, within a speech, at school, university or within smaller groups of people. Therefore, being acquainted with all these cultural similarities as well as dissimilarities, one may easier understand when, how or with whom the usage of the American and British humour may be appropriate or not. An issue such as how British people see the Americans and vice-versa is a very interesting one to discuss and it may help us see and understand how much culture influences humour.

Harzing specifies that compared to Americans, “British people have a quite indirect communication style,” which means that they do not “tell you just the way it is to get things in the open” but “you will have to read between the lines to understand what they really mean” (Harzing). Every culture reserves its own peculiarities and features when it comes to transmitting and communicating humour. Hargis sustains that: “With Brits in the mother country, I usually sense more of a grudging appreciation of some aspects of American life—the cheap jeans, the summer weather or the fantastic natural sights, and there are always people who see the U.S. through Florida-vacation tinted spectacles.” As long as appraising one type of culture or humour includes its respect and admiration for its uncommon characteristics, we may easily agree or disagree with what it upholds.
Moreover, he considers that “America is a hard nut to crack. But once you get a toehold, it’s a great place for an entrepreneur because people are so enthusiastic, and you have the most enthusiastic audiences in the world.” Hargis suggests that:

In this 2012 interview, Fry draws a distinction between American and British comic heroes, believing that the American comic heroes are smart talkers who “can wisecrack their way out of anything,” while typical British comedians “try to be decent and honest” but are all essentially an “utter failure … on whom life craps from a terrible height,” such as Basil Fawlty, Del Boy from Only Fools and Horses or David Brent from The Office. (bbcamerica)
Thus, the cultural differences between America and British that produce humour affect the way it is transmitted, seen, grasped, how people from both sides of the Atlantic perceive each other’s jokes, parodies and comical ideas.

Humour is of various kinds and we have already mentioned some of them throughout our discussion, but they ought to be known by any translator around the world, because this knowledge helps him/her communicate the message or the joke properly in order for the audience to receive it accurately. According to Han, “there are three types of humour: linguistic humour, cultural humour and universal humour.” The first one “has at its basis language itself,” being about how “people spell the words, the way they utter and emphasise them and of course, the meaning of the utilized words, which must be appropriate to the situation.” Linguistic humour was split into six categories: “pun, morphology, lexical ambiguity, idioms, structural and scope ambiguity and pragmatics” (580). Such classifications may ease any translator`s work, any reader`s endeavour for analysis or interpretation of what huumour comprises.
Han cites Newmark and sustains that cultural humour is based on culture and “has its origins in the following elements: “ecology, including flora and fauna; material culture (artefacts), including food, clothes, houses and town; social culture; work and leisure: organisations, customs, activities, procedures, concepts: including political and administrative, religious, artistic; gestures and habits” (Newmark, 21). The third is the universal humour, including “elements which are common within two or more cultures,” this kind of humour being the one that is rightly comprehended in terms of intercultural communication.” Therefore, these three types of humour are continually influenced and determined by culture and everything that the latter comprises within a society (education, arts, politics, tradition, belief).
We have already mentioned for several times that there is a variety of dissimilarities between cultures and traditions all around the world and they are fundamental when it comes to define a nation, its people and its relations with the others. This is why differences should not be a barrier, but a reason of challenge in order to observe and learn unusual and original concepts and facts, recent and valuable information. Humour is determined by culture to such an extent that domination may provoke circumstances in which jokes may not be translated accordingly, because of differences in social structure and cultural forms. Studies being done, there is this conclusion that “humour techniques like exaggeration, understatement, witty cynicism, verbal irony, disguise, and deception are consistently funny in markedly different regions of the world.” However, Jackson assumes that there is this similarity according to which “people of all cultures laugh at incongruities and their resolutions.” In conclusion, humour is an element which defines and guides our existence, career and even generation or history. Therefore, cultural varieties could be a real test for us so that we are unrestraint to choose whether to discover, to welcome and accept them, an idea that would definitely change everybody’s life, or to continue consider that they disconnect us.
Talking about the culture of a society that was established in time, we may well accept the fact that no culture can ever be absolutely outlined, because there will always take place the process of globalization. An impressive association of cultural experiences designates and decides the existence and release of humour. According to Sklar, Americans` “customs and institutions, derive from the English background of our colonial years, and our peoples have brought with them the cultures and traditions of Europe, Africa, and Asia, as well as absorbing much from the native Indian populations.” The adoption or borrowing of various traditions from different cultures is unavoidable as long as we all relate to each other, irrespective of their religion, race or nationality. He also states that “humor is far more universal a human trait than other aspects of culture, and we share many of our favourite jokes and stories with savage societies and monarchical kingdoms” (108). This suggests the idea that a mix of cultures and traditions may lead to a mix of humour, an interchange of jokes, maybe even the acceptance and success of crossing over barriers, a belief that could be extended over totally contrasting cultures, where assertion of uniqueness and distinctiveness of others should be practiced. Thus, we live in a society where culture does influence humour but it is also up to us whether we want to enrich, our education, our personal culture, our values as humans and our awareness of the beauty of diversity.

In conclusion, the first chapter of this paper provides knowledge about culture and what it means to humans, translation and its inseparable connections with the former feature, what a translator should be familiar with in order to do his work, when and how to put into practice his abilities, truths about humour, its various kinds, and powers that any culture performs over its presence and growth. All these must be known so that any translator may communicate the message, the joke or any sort of information to his/her audience. Definitions of the terms guided us to understand them to a higher degree as well as their functions, outcomes, benefits and drawbacks. We have discussed about customs of American and British people, their education, concepts that shape their life, their relations, similarities and dissimilarities of these two cultures. Moreover, the provision of reasons for humour in translation simplified the subject and we managed to recognize the outstanding usefulness of an expert translator and the efficiency of his work concerning various fields: literature, advertising, television, psychology and sociology.
Translating humour
We have noticed that the first chapter has embraced discussions about cultures and translations, their fundamental and inseparable connections, reasons for humour in translation. On the one hand, the third subchapter of the first chapter approaches the outcomes of American or English culture on humour, the existence of the latter and our unimaginable reality without it. It is unquestionable that the second chapter is highly connected with the first, given the fact that the terms are the same, only that they are used in a totally diverse pattern providing a novel information about translating humour and its main challenges and complications, as well as solutions. On the other hand, the third subchapter will focus on the impact of humour on culture.
Problems of Translating Humour
Translating Humour may not be as easy as any other translation work, given the fact that we have observed the abundance of reactions to humour, the manifestation of its spreading across the world and the audience’s feedback, all these due to cultural phenomena and their essential features. There is no luck for a translator to perform his work in an ideal or exact approach, this meaning to reproduce a text from the SL to the TL in a precise way. Hoffman mentions that it is advisable “to abandon the idea of perfect fidelity and instead try to find a joke that rings some of the same bells as the original. By this standard, many simple punch lines, from the morbid to the absurd, are not that much harder to translate than the weather” (nytimes). These being said, we may consider that research in order to find the best meaning, knowledge of both the target and source languages and cultures and the connection of all these features shape the success of translating humour.
Hoffman sustains the fact that reasons why delicate situations may arise are “cultural references and wordplay, according to those seasoned in the art” explaining the idea that “you can either lose readers with a cryptic allusion or you can burden the text with explanatory footnotes” due to “culture-bound humor” and the most appropriate resolution “is sometimes to let it stand” (nytimes). It is not simple to determine any audience fall with laughing, but the one for whom this is the least critical issue, he/she should know that gaining anyone’s trust, being that person who “summons an atmosphere of ambient hilarity” is fundamental in order “to really make people snort milk out their noses” (nytimes). Any humourist is a person who relates pleasantly and healthy with those around him, his/her main target being to generate laughter, happiness, amusement and see joy in people’s eyes and any translator’s purpose is to preserve and transmit the meaning and the substance of the joke.

If we are to define the wordplay, according to Delabatista:
Wordplay is the general name indicating the various textual phenomena (i.e. on the level of performance or parole) in which certain features inherent in the structure of the language used (level of competence or langue) are exploited in such a way as to establish a communicatively significant, (near)-simultaneous confrontation of at least two linguistic structures with more or less dissimilar meanings (signifieds), and more or less dissimilar forms (signifiers) (57).
Therefore, it may not be an uncomplicated task for a translator to mirror from the SL to the TL what a humourist aspires to express.

Anywhere in this world there are various types of humour which do not necessarily match everybody`s preference or even cleverness and understanding, either because of education, entourage, lifestyle or personal evolution. However, we are not here to judge. Tisgam cites Chun, pointing out that “each culture has its own special risks and problems” and the veracity that “there are many jokes in which only the constituents of the same society can experience humour,” providing the example of farmers and educated men. Thus, “the jokes which farmers exchange among themselves may sound very funny to them,” but not to those who are educated, living a life with a higher standard (Chun, 124). Outstanding dissimilarities that outline and divide the classes of a society, may also overshadow conversations between its members and their understanding of humour.
Nevertheless, Tisgam cites Ahmed, thus mentioning that there is a definition of the joke that may correspond to any kind of humour and it sounds like this: “a “joke” can be defined as a form of humour in which the funniness culminates in the final sentence, called the bunchline” and this “can be analyzed into: the setting of the scene and the punchline” (Ahmed, 29). Raskin (29) defines the punchline as being “the surprise element which distinguishes humour from non humour” and which includes “incongruity” (Ibid, 54). These elements help translators understand and grasp humour from theoretical points of view, so that their tough work of transmitting the significance of the joke from the SL into the TL is diminished. For all these reasons, many features have to be taken into consideration while translating humour, thus hindering any polyglot’s efforts.
As humans, we have tremendous capacities as opposed to plants and animals, such as: speaking, writing, reasoning and even laughing and despite all these, we still have a lack of intercommunication, generosity and tolerance to each other. Nowadays, one may affirm that even plants and animals live better together than humans do. Linguistically, Tisgam (4) argues that “since human beings are the only living species who can speak in many different languages to communicate with each other, but this is, at the same time, a great obstacle because they are unable to understand what other individuals say,” highlighting the “need to translate from one language into another and the need for the translator himself.” The outcome of such a requirement is that he/she “reads, re-reads, writes, re-drafts, edits, and re-writes” while attempting “to understand and create, he tries to restore the effect of original as exactly as possible” (5). Despite all these efforts, culture still “poses an obstacle in the way of translator’s attempt to dig in the area of rendering SL cultural jokes into TL” (5). Corral also suggests the concept that “people rarely question the fact that cultural jokes get lost in translation, an idea that appears to suggest some failure on the part of the translator” (25). Tisgam suggests that “readers of the TL” who are not familiar with the “SL culture” cause a “great difficulty for the translator” (5). Thus, try as we might, we could not find another element to be as fundamental as culture, this one stands as being the primary factor that influences or limits the work of translation. Therefore, the one who translates takes many risks, dealing with uncertainty and originality from both sides of Source and Target Cultures and Languages.
We may simply assert that there are uncomplicated and ambiguous or unclear jokes, this being a situation that depends on several elemental constituents which are part of it and due to their existence, we can see the difference through a more straightforward method. Chapman affirms that there is “the linguistic content: it refers to the speech patterns in which a humorous message is encoded,” “the semantic content: it refers to the topic and theme of the joke. Often the reason for encoding a joke defines its topic” and “the cognitive content: it refers to the cognitive complexity of the joke” (142). In order to understand a joke, one should have linguistic and semantic knowledge as well as a certain intellectual level in order to figure out how to merge them. Tisgam (7) emphasizes that there are “jokes of different forms” and some of them are these: “one liners: jokes told by one character, two liners: jokes supposed to be told by two characters and narrative jokes: mostly composed of two parts, the narrative introduction and the dialogue.” Irrespective of how many tell a joke, what is essential for a translator is that he/she should be acquainted with what foreign words mean in the SL and how they can be clearly expressed into the TL.
Another issue could be the fact that “appreciation of humor and humor production are two distinct skills,” meaning that humor is “a talent-related skill, since it is neither learnable nor teachable” (Vandaele, 150). We may consider that people who are born with this kind of talent are very fortunate, as they fascinate others with their sense of humour, their positive energy, as well as intelligence and ability to see the hilarious side of any moments that they or those around them come across in the everyday life. According to various perceptions and concepts, one may consider that this kind of people are an example to follow. In conclusion, translators encounter enough barriers until the news, the message or the joke is revealed, whether it is inside a simple text, a book, a magazine or a newspaper.
 2.2 Solutions to Problems When Translating Humour
There is no human on this Earth who is unable to respond to jokes and therefore to laugh, feel entertained and amused. It is a right and a freedom provided to us, as humans in order to adopt it and enjoy it in every significant and memorable moment of our life. As such, according to Di Giacomo who cites Raskin, “distinguishes between “humor competence,” which can be found in every human being, and consists in the human notion of funny or humor, which is universally perceived, and “humor performance,” which deals with an individual’s sense of humor” (Raskin, 3). We have been talking about wordplay in the first subchapter and it is acknowledged that this element is “a crucial challenge to overcome when translating a joke” (btistudios). Klippvik affirms that one solution “to overcome these challenges” is to work with “urban dictionaries” in order “to find the local equivalent’s modern language” (btistudios). We may simply admit the fact that due to the state-of-the-art technology and the evolution of science and informatics, there are less and less issues related to finding solutions to anything, anytime and anywhere. Therefore, any problem has its solution, there is no question without answer and no statement without feedback. All we need to do is search, research, request for facts, information, news, after which there always comes a comment, an explanation and even a meaningful answer.
Talking about problems without solutions and even though we attempt to prove that nothing is impossible in this world, even when it comes about translating humour, we end up changing our mind. Haun (veracontent) states that “it’s just that no matter how many irregular verbs you memorize, no textbook will impart you with a bilingual sense of humor.” She has also tried to find out solutions to “the most common kinds of linguistic humor” in the case of wordplay, rhymes and cultural references. In order to find out a resolution for the first mentioned, it is fundamental to “determine the strategy the source text is using. Is it alliteration? A pun? Does it take advantage of a word with two different meanings? Once you understand the structure of the joke, you can start formulating a new one in the target language.” For the second one, the translator has “to think of as many synonyms as possible for the words in question” till he/she finds “two that rhyme.” Taking into account the third type, Haun specifies that “every translator—and second language speaker—knows that a good part of understanding a language” is to perceive its “cultural context,” for example “if the punchline refers to a local politician, a historical event, or anything that’s only familiar to a certain community, it’ll be lost on outsiders.” In such a case, inquiries like “do you leave the reference as is and hope your audience will get it? Do you change it to a different reference in their own culture that communicates a similar idea? Or do you just get rid of it?” may arise. The remark Haun provides with respect to these confusions, is that “if you’re going for the second option, you’ll need to be very familiar with both the original reference and the culture of the target audience. Try to determine the essence of the joke: why is it funny?” Moreover, this likelihood may come into being: “if you change the reference, the text simply won’t make sense,” a situation in which “you might want to interject an explanation” in order to assure yourself that the reader grasps the message (veracontent). Many complex situations might emerge while translating especially humour and they condition what comes next: ambiguities and confusion from the part of the one who works on translation. We may conclude with the fact that it is fundamental for the translator not only to be familiar with what we have already mentioned for so many times (cultures and languages of both SL and TL), as well as to cope with dilemmas and find their strategies and solutions.
Abundant research and studies have been done on solutions regarding translation complexities and challenges in order to relieve translators’ struggle in their performance with respect to the most satisfactory outcome. Let us continue providing more and more techniques about the act of translation in order to become acquainted with what any translator should be familiar with. There are “specific translation procedures” as regards the cultural elements (Guerra, 6). Guerra quotes Graedler that there are four: “(i) making up a new word, (ii) explaining the meaning of the SL expression in lieu of translating it, (iii) preserving the SL term intact, and (iv) replacing it using any term in the TL that has the same “relevance” as the SL term” (3). A translator is not constrained to use only one, two or even all of them, but he/she must be able to notice when to use them, how many, where and why. Thus, it means that he is able to transmit the meaning of the joke accurately. Borillo is cited by Guerra as he considers that there are six procedures “considering the intervention of the translator and his approach to the TC as a continuum.” Therefore, they are the following “(i) pure or naturalised loan, (ii) literal translation, (iii) neutralisation (description, generalisation or particularisation), (iv) amplification or compression, (v) intracultural adaptation, and (vi) intercultural adaptation” (138). We provided techniques that definitely release any translator’s work to a certain extent, but his/her work includes much more research, knowledge requirement, dedication and work. In conclusion, people of all nationalities all over the world have done and they still do research and studies regarding how to come across cultural barriers, to determine any translator’s job to become more and more uncomplicated.
We have managed to provide many explanations concerning problems of humour translation, but studies showed that there are others which may prevent complications and help the translator perform his art work. According to Zabalbeascoa, there are some techniques: “hiring procedures, specialization and training; more social, professional and academic recognition of the value and difficulties of translating; team work; technology and materials; awareness of goals and priorities” (24-25). We acknowledge the reality that any kind of job or work requires experience, practice and somehow a sixth sense, or others may call it intuition, in order to take the most suitable decisions. Moreover, it is highly fundamental for any translator to pay attention to details, facts, news, modifications regarding languages, cultures, and even minor changes, whether we talk about humour and how it is transmitted or perceived within sociological, cultural, national or psychological context. Therefore, we may come to the conclusion that translators should be initiated in the work of translation since they are scholars, a moment in life when they are the most open-minded and acquisitive.
   2.3  How Does American or English humour Affect Culture? 
We have talked about cultural influences upon humour in the first chapter and we have reached the conclusion that humour depends on the culture that overshadows its survival as well as its development. However, not only culture has powers upon humour, but also the latter has control upon the former. We may ask why, right? As we have already mentioned above, humour provides laughter, positive feelings, stress relief, optimism and the time spent laughing may be called quality time. A peculiarity of paramount importance that any kind of humour bears is the fact that it works like any contagious disease. For instance, there are twenty people in a subway, they do not know each other, they all have different destinations, they are of different nationalities, religions, cultures, origins and they speak different languages, but one starts laughing while he is reading a comic book. As he continues reading and laughing, reading and laughing, though nobody knows what and why, other three people feel amused and they start to smile and laugh until all of them involuntarily react in the same way. What we want to emphasize here is the fact that irrespective of one`s culture, language and origin, no matter how many barriers have been built between nationalities in time, we may still connect with each other through humour, without words, without any knowledge about the others or interests of any kind, just the pure joy and happiness. If we have talked about barriers between cultures, now we are able to discuss about crossing over them. Maybe because we are more powerful and effective when we laugh and when we do not disregard or underestimate humour. Humour may be beneficial at work, as well as at home, with family and friends or at school, together with colleagues and professors. Thus, it definitely affects culture, we may even say that it is a method through which we all embellish our culture and we also become more capable to acknowledge those of others, interact and laugh with them.
Whether we discuss about American or British Humour, each is mainly expressed through comedies and we shall see why and how it affects these two cultures from many points of view. We may say that neither of the two is more appropriate or preferred than the other. Generally speaking, what one believes, says or does will eventually come back to him/her without any doubt in a variety of ways. Moreover, thoughts turn into words and these evolve into actions, a fact that humourists around the world, positive people, and authors of motivational literature know too well. O’Hara states that “comedy is more than just a pleasant way to pass an evening, humour more than something to amuse. They’re interwoven into the fabric of our everyday existence” (bbc). What does humour or comedy to culture, whether we consider features such as religion, politics or principles of a society? It facilitates our independence in order to “subvert society’s norms” (bbc). In time, British culture has been influenced through people who managed to call things by their name with the aid of humour or comedy.
For some comedians, it’s not just about getting laughs – it’s about changing what we think and maybe even what we do. If there’s one comic who really personifies this, it’s Josie Long. A social justice activist and a comedian, Long has a reputation for delightful, optimistic, whimsical humour and nimble storytelling. She’s been doing live comedy since her teens and her latest BBC radio show, Romance and Adventure, has been widely lauded. However, as her career has evolved, she has consciously put social and political topics at the heart of her act. She believes that comedians have a role to play in articulating and challenging some of the most pressing issues of the day (bbc).
For her, humour is essential as she may seep through “political realities of contemporary Britain – especially what she sees as overt injustices by government” (bbc). Moreover, we are more and more eager for comedy, “the biggest comics – from Sarah Millican and Michael McIntyre in the UK to Chris Rock and Amy Schumer in the USA – pull thousands upon thousands into gigs” (bbc). In conclusion, any action has a consequence, we may thus point out that humour has a tremendous impact upon any culture, as well as upon how people all around the world perceive it.
Like in Britain, American humour bears an outstanding significance on politics, its evolution, concerns, and features that may decide citizens’ lifestyle, education, culture and health care. According to O`Hara, “John Fugelsang – a New York-based political comedian, writer and actor who hosts the radio show Tell Me Everything” states that “the recent ascendance of political comedy is one of the most fascinating aspects of the role of humour in US entertainment” (bbc). Fugelsang considers that “it’s innate that if someone can make you laugh over what a mess everything is, then that person has not just earned your admiration but, on some level, has also earned your trust” (bbc). The negativity of the news influenced comedy to turn out so exceptional. “This could be the best time ever to be a political comedian, and they may be needed more than ever. Political comedy, when done right, is a delivery system for truth” (bbc). Masada. an Iranian who travelled to America, admits “with complete sincerity that if observing audiences night in, night out has taught him anything, it’s that comedy can have a profound impact on how we feel, and even how we act” (bbc). His pattern to take into consideration is based on his acquaintance with how “utterly miserable” people look when they “arrive at comedy clubs” and “then leaving with a smile on their face, visibly transformed – married couples that turned up barely speaking leaving holding hands” (bbc). In consequence, as everything is in an unceasing revolution and transition, the reaction to negative news being positive humour, we may even admit the truth that what is entertaining for the current generation, it may dissatisfy the next one.
Humour symbolizes such a widespread and beloved phenomenon that researchers all over the world become more and more entangled in doing research, conducting surveys and studying its evolution and spread between cultures, societies and people. O’Hara confirms that “academic researchers are also increasingly interested in humour, often being lumped together under the epithet ‘humorologists'” (bbc). Therefore, a “research lab” initiated at the University of Colorado Boulder was consecrated to study humor from a scientific viewpoint. On the other side of the Atlantic, The Centre for Comedy Studies Research (CCSR) was established at Brunel University (UK) in 2013 for the study of comedy and its social impact. The impact of humour on culture and its features is so impressive, far-reaching and meaningful that labs were inaugurated so that more and more investigations may be fulfilled. The answer to the question: What is the study about? Is this: “all kinds of aspects – from what happens in the brain when we ‘get’ a joke, to the cardiovascular benefits of a good laugh” (bbc). Humour provides us with plenty of power, since making someone laugh, creates a pleasant atmosphere or saves those who lost their confidence is really an outstanding accomplishment. Used accurately and wisely, with no intention to upset somebody, humour might generate only positive outcomes between us as groups, societies and states whether we discuss about politics, religion, education, race or colour of the skin. However, as long as one considers his interest is above the others we all are going to lose, suffer and fail in improving our life, relations, physical and mental health, without being able to thrive and take pleasure from what humour is delivering us for free.
Researchers confirm that learning and studying through humour is much more constructive and beneficial, providing superior progress. Why? People are more observant and open-minded when it comes to laugh and feel well in his/her own skin. As any obstacle has its solution, there are tips that humourists or those who want to joke might use in order not to mention inappropriate words or attitudes and thus, not conceiving irritating situations. The first one is to “avoid making comparisons between the country you are in and other countries” (medium). This is just like in the case that nobody feels wonderful when he/she is examined in contrast to another person. The second one is the perception according to which “even if people in the culture are self-deprecating, this is not an invitation to join in” (medium). Thus, it is acknowledged that “most people can laugh at themselves, but feel quite different when someone is laughing at them” (medium). From a psychological point of view, there are individuals who, at the moment when others laugh at them, believe it is because of them, of their imperfection or weakness and, hence, feel frightened of being humiliated. It is depressing that such situations are still created nowadays in a world which should be more tolerant and approachable. The third one is to “run your jokes past the event organizer or a counterpart from that culture, as what may seem hilarious to you could be seen as confusing at best, and at worst, insulting” (medium). All of us should weigh our words more thoughtfully, because they could be either arrows or a balm, and they, sooner or later, indubitably return to us like a boomerang. For all these reasons, researchers have not stopped in exploring and invastigating humour influences on culture, its impacts on humans and their reactions.
Therefore, throughout this chapter, we have found out what translating humour means, along with the problems and obstacles it comprises because of culture and its noteworthy significance within any translation activity. Therefore, we have come up with solutions and strategies so that the person who translates humour succeeds in overcoming as many challenges and barriers as possible. The third subchapter ends up with facts about how British and American humour as well as those around the world really alter and influence people’s beliefs, life, relationships, how much it may change a pathetic evening into one sensational, unforgettable, so that one can say ‘I want more of this,’ in other words no negativity, no sadness, no superiority over the others’ desires. We strongly believe that such an attitude really affects and reforms culture.

British and American Humor in Film Subtitles
Firstly, we shall become acquainted with the strategies for subtitling humour in order to understand the process of translating it and the rules that are applied. Thus, we may be able to see different ways of approaching humor in everyday life, whether at work, between friends or unknown persons. We shall see how dissimilar British and American Types of Humour are in the sitcom Friends and The Office. Within subtitling, we even used stage directions, so that we could more straightforward visualize where they are, what they are doing, their reaction regarding what somebody elese said or did. We may acknowledge that characters in the American sitcom are much more active, more talkative, more informal, they even tread on delicate ground, such as sex. The British sitcom approaches the subject regarding different races and nationalities, however the boss’s attitude is not a mature one. Though, this is exactly what it makes him be hilarious to a certain extent. A detailed discussion about such features will take place after subtitling and translating both sitcoms.
3.1. Strategies for subtitling humour
We have been discussing about what translation means in general, its problems and solutions or about reasons for humour in translation, nevertheless subtitling humour is dissimilar due to more factors. What does is make it so different? According to Alharthi, the process of subtitling includes “certain technical rules and conventions, such as timing, spatial constraints, synchronisation and visual elements, which make the task of rendering humour in films or sitcoms more difficult” (36). All these features define the evolution and the outcome of such a performance as subtitling humour. According to Diaz-Cintas & Remael (2014), a definition of subtitling would be:
Subtitling may be defined as a translation practice that consists of presenting a written text, generally on the lower part of the screen, endeavours to recount the original dialogue of the speakers, as well as the discursive elements that appear in the image (letters, inserts, graffiti, inscriptions, placards, and the like), and the information that is contained on the soundtrack (songs, voices off). They must appear in synchrony with the image and dialogue, provide a semantically adequate account of the SL dialogue, and remain displayed on screen long enough for the viewers to be able to read them (8-9).

According to Veiga, the main favourable outcome of subtitling humour would be “in addition to the recognition of humour in the SL, the translator’s ability to (re)create the same perlocutionary effect as conveyed by the original (audiovisual) text” (11). We must acknowledge that the most successful sitcoms or comedy films, for example the American sitcom Friends and the British sitcom The Office are beloved worldwide because of the result achieved by the subtitler. Therefore, as useful as its outcome may be, the process of subtitling involves difficult situations, but not impossible to deal with.

Culture is a characteristic that strengthens tough circumstances regarding subtitling humour and many researchers managed to find out and discuss this fundamental feature. Alharthi affirms that “the preservation strategy involves translating the cultural element in the source text as it is without making any changes” (42). However, he also mentions that “the weakness of this strategy is that it does not take into consideration the discrepancy between cultures and, therefore, the ST will be incomprehensible to the target audience” (42). There are always more or less inconsistencies between cultures, but any creative translator and the one who is full of knowledge and ideas will always figure everything out. According to Alharthi, “Another translation strategy is the creation technique (pragmatic translation), which entails adding extra information in order to guide the target culture audience when it is difficult for them to understand the culture-bound element” (42). This chapter deals with practical solutions for subtitling both American and British humour so that we have chosen to discuss, analyse and translate subtitles from the well-known sitcoms Friends and The Office from English (SL) into the Romanian language (TL).
Thus, let us begin with Friends season 01, episode 1:
Monica Geller – the cook
Ross Geller – Monica’s brother and Dr. in Paleontology
Chandler Bing’s job – Statistical analysis and data reconfiguration
Rachel Green – Waitress, Fashionist at Ralph Lauren
Joey Tribbiani – Actor
Pheobe Buffay – Massage therapist
The One Where It All Began
(Monica, Chandler, Joey and Pheobe are at the Central Perk coffe shop) Cel în care a început totul
(Monica, Chandler, Joey and Pheobe se afl? la cafeneaua Central Perk)
Monica: There’s nothing to tell. It’s just some guy I work with. Nu este nimic de spus. Este doar un coleg.
Joey: Come on, You’re going out with the guy. Haide, ie?i cu b?iatul ?sta.

There’s gotta be something wrong with him. Trebuie s? fie ceva în neregul? cu el.
Chandler: So does he have a hump, a hump and a hair piece? Deci, are cocoa??, cocoa?? ?i me???
Pheobe: Wait, does he eat chalk? Stai, are obiceiul s? m?nânce cret??
Just beacuase I don’t want her to go through what I did with Carl. Oh… Pentru c? nu vreau ca ea s? treac? prin ce am trecut eu cu Carl. Oh…
Monica: Okay, everybody relax. Ok, calma?i-v?.

This is not even a date. Asta nici m?car nu e o întâlnire.

It’s just two people going out to dinner and not having sex. Sunt doar doi oameni care iau cina împreun? ?i nu fac sex.
Chandler: Sounds like a date to me. Mie mi se pare c? e o întâlnire.
Chandler: All right, so back in high school, standing in the middle of the cafeteria. . . În regul?, deci pe când eram în liceu, m? aflam în mijlocul cantinei…
. . .and I realize I’m totally naked. …?i realizez c? sunt complet gol.
Everybody: Oh, yeah.. I’ve had that dream. Toat? lumea: Oh, da.. am avut ?i eu acel vis.

Then I look down and I realize there is a phone…there. Apoi, m? uit în jos ?i v?d c? este un telefon…în acel loc.

Joey: Instead of…
Chandler: That’s right! – În loc de…
– Corect!
Monica: That one, I’ve never had. No Pe ?sta nu l-am avut. Nu.

Chandler: All of a sudden, the phone starts to ring. (Pheobe starts smiling) Dintr-o dat?, telefonul începe s? sune. (Pheobe începe s? zâmbeasc?)
And it turns out it’s my mother. ?i se dovede?te a fi mama.
Which is very, very weird because she never calls me. Ceea ce este foarte, foarte ciudat pentru c? ea nu m? sun? niciodat?.

After some time
Ross: (With a sad and low voice) Hi… Dup? câtva timp
Ross: (Cu o voce trist? ?i joas?) Bun?….

Joey: This guy says, ”Hello,” I wanna kill myself. Când tipul ?sta spune Bun?, îmi vine s? m? sinucid.
Monica: You okay, sweetie? E?ti în regul?, dragule?
Ross (As he approached Chandler): I just feel like someone reached out my throat, grabbed my small intestine, pulled it out of my mouth… and tied it around my neck. (În timp ce se apropia de Chandler): M? simt de parc? cineva mi-a intrat pe gât, m-a prin de intestine, mi l-a tras afar? pe gur?…?i mi l-a înf??urat în jurul gâtului.

Chandler: Cookie? -Fursec?
Monica: Carol moved her stuff out today. Carol ?i-a mutat lucrurile ast?zi.
Everybody: Oh… Toat? lumea: Oh…
Monica: Let me get you some coffee.

Ross: Thanks. -S?-?i aduc ni?te cafea.


Pheobe (Moving her hand above his head) Ew…Uh… (Mi?cându-?i mâna deasupra capului s?u): Îuu.. Oh…
Ross (Trying to stop her): No, don’t!
Stop cleansing my aura. (Încercând s? o opreasc?): Nu, nu face asta! Înceteaz? s? îmi cure?i aura!
Just leave my aura alone, okay? (Enervat)
Las?-mi aura în pace, în regul??
I’ll be fine. All right? Really, everyone. I hope she’ll be very happy. Voi fi bine. În regul?? Serios, sper s? fie foarte fericit?.

Monica: No, you don’t. Nu, nu speri.

Ross: No, I don’t. A?a-i.

To hell with her. She left me! S-o ia dracu. Ea m-a p?r?sit!
Joey (Thinking): And you never knew she was a lesbian. (Gânditor) ?i tu n-ai ?tiut niciodat? c? era lesbian?.

Ross: No! Ok? Nu! Bine?
Why does everyone keep fixating on that? De ce toat? lumea se fixeaz? pe ideea asta?
She didn’t know. How should I know? Nici ea nu ?tia. Cum s? fi ?tiut eu?
Chandler (While reading the newspaper) Sometimes I wish I was a lesbian. (În timp ce citea ziarul) Câteodat? îmi doresc ca ?i eu s? fi fost lesbian?.
Did I say that out loud? Am spus asta cu voce tare?
Joey: All right, Ross. Look, you’re feeling a lot of pain right now. Gata, Ross. Uite, te sim?i foarte îndurerat acum.

You’re angry. You’re hurting. Can I tell you what the answer is? E?ti sup?rat, e?ti r?nit. Pot s? î?i spun care este r?spunsul?
Strip joints! Cluburi de striptease.
Come on, you’re single. Have some hormones. Haide, esti singur. Bag? ni?te hormoni.

Ross: See, but I don’t want to be single, okay? Vezi, dar nu vreau s? fiu singur, ok?
I just want to be married again. (Rachel comes in, dressed in a wedding dress, desperate looking for Monica) Vreau doar s? fiu din nou c?s?torit. (Rachel intr? îmbr?cat? într-o rochie de mireas?, c?utând-o disperat? pe Monica)
Chandler: And I, just want a million dollars! (Pointing to the door) ?i eu, vreau doar un milion de dolari! (Ar?tând spre u??)
Monica: Rachel? Rachel?
Rachel: Oh, God, Monica! Hi! Thank God! (Hugging her, though Monica is looking confused to the others) Oh, Doamne, Monica! Bun?! Mul?umesc lui Dumnezeu! (Îmbr??i?ând-o, de?i Monica se uit? confuz? spre ceilal?i)
I went to your building and you weren’t there. And this guy with a big hammer said. . . Am fost pe la tine ?i nu erai acas?. ?i un tip cu un ciocan mare a zis…

…that you might be here and you are. (Happy, Rachel takes Monica’s hands in hers) …c? s-ar putea s? fii aici ?i uite c? e?ti…

(Fericit?, Rachel îi ia mâinile Monic?i între ale sale)
The girl from the bar: Can I get you some coffee?
Monica: Decaf. (Showing towards Rachel) Fata de la bar: Pot s? v? servesc cu cafea?
Monica: Decofeinizat?. (Ar?tând spre Rachel)
Monica: Everybody, this is Rachel, another Lincoln High survivor. Toat? lumea, ea este Rachel, o alt? supravie?uitoare a liceului Lincoln.
This is everybody. This is Chandler and Phoebe… Ei sunt to?i. El este Chandler ?i Pheobe…

…and Joey. And remember my brother, Ross? …?i Joey. ?i î?i aduci aminte de fratele meu, Ross?
Sure! (With a trembling voice) Sigur! (Cu o voce tremurând?)
Rachel: Hi.. (The umbrella suddenly opens between them)
(Ross is embarrassed and sits on the couch) Hei… (Umbrela se deschide brusc între cei doi)
(Ross este stânjenit ?i se a?eaz? pe canapea)
Monica: So, you want to tell us now, or are we waiting for four wet bridesmaids? Deci, vrei s? ne poveste?ti acum, sau a?tept?m patru domni?oare de onoare plouate?
Rachel (sighs): Oh, God! Well, it started about a half-hour before the wedding. Rachel (ofteaz?) : Oh, Dumnezeule! Ei bine, a început cam cu o jum?tate de or? înainte de nunt?.

I was in this room where we were keeping all the presents. . . Eram în camera în care ?ineam toate cadourile..

…and I was looking at this gravy boat. …?i m? uitam la o sosier?.
This really gorgeous Limoges gravy boat. O sosier? Limoges extraordinar?!
Rachel: When all of a sudden… (the girl from the bar brings her coffee) Sweet ‘N Low? I realized… Când brusc… (fata de la bar îi aduce cafeaua) Cu zaharin?? Mi-am dat seama..

I realized… Mi-am dat seama c?…
…I was more turned on by this gravy boat than by Barry. Eram mai încântat? de sosiera asta decât de Barry.
And I got really freaked out, and that’s when it hit me: ?i m-am speriat foarte tare, ?i atunci mi-am dat seama de:
How much Barry looks like Mr. Potato Head. Cât de mult seam?n? Barry cu Dl. Cap-de-Cartof.
You know, I mean, I always knew he looked familiar, but… ?ti?i, adic? întotdeauna am ?tiut c? sem?na, dar…
Anyway, I just had to get out of there, and I started wondering… (Ross pours sugar in her cup of coffee while nodding) Oricum, trebuia doar s? plec de acolo ?i am început s? m? întreb… (Ross îi toarn? zah?r în cana de cafea în timp ce d?dea din cap)
”Why am I doing this?” and ”Who am I doing this for?” “De ce fac asta?” ?i “Pentru cine fac asta?”
So anyway, I didn’t know where to go, and I know you and I have kind of drifted apart… Deci, oricum nu ?tiam unde s? merg, ?i sunt con?tient? c? noi dou? ne-am cam îndep?rtat…

…but you’re the only person I know who lived here in the city. …dar e?ti singura persoan? despre care ?tiam c? locuie?te în ora?.
Who wasn’t invited to the wedding. Care nu a fost invitat? la nunt?.
I was kind of hoping that wouldn’t be an issue. (Ross mixes her coffee with the spoon) Speram ca asta s? nu fie o problem?. (Ross îi amestec? în cafea cu linguri?a)
(Later. Ross, Joey, Chandler, Pheobe and Monica watching a soap opera)
Monica: I’m guessing he bought her the pipe organ. . . (Mai târziu. Ross, Joey, Chandler, Pheobe and Monica uitându-se la o telenovel?) B?nuiesc c? el i-a cump?rat tubul de org?…

…and she’s really not happy about it. …iar ea chiar nu este încântat?.

Rachel: Daddy, I just… I can’t marry him. Tati, eu doar… eu nu m? pot m?rita cu el.

I’m sorry. Îmi pare r?u.

I just don’t love him. Doar c? nu-l iubesc.
Well, it matters to me! (Intrigued) Ei bine, pentru mine conteaz?! (Intrigat?)
Chandler (watching TV where two girls were arguinig): She should not be wearing those pants. Chandler (uitându-se la televizor unde se certau dou? fete): Ea nu ar trebui s? poarte acei pantaloni.

Joey: I say push her down the stairs! Eu zic s? o împingi pe sc?ri!
Everybody: Push her down the stairs!
Push her down the stairs! Toat? lumea: Împinge-o pe sc?ri!
Împinge-o pe sc?ri!
All cheer and applaud. To?i aclam? ?i aplaud?.

Rachel (in the kitchen): Come on, Daddy, listen to me! Rachel (în buc?t?rie): Haide, t?ticule, ascult?-m?!
It’s like all my life, everyone’s always told me, ”You’re a shoe!” Este ca ?i cum toat? via?a, toat? lumea mi-a spus mereu, “E?ti un pantof!”
”You’re a shoe! (Everybody stops watching TV anymore) You’re a shoe! You’re a shoe!” “E?ti un pantof! (Toat? lumea înceteaz? s? se mai uite la TV) E?ti un pantof! E?ti un pantof!”
And then today, I just stopped and I said, “What if I don’t wanna be a shoe? Apoi azi, m-am oprit ?i am spus, “Dac? nu vreau s? fiu un pantof?”
What if I want to be a purse? (Ross keeps watching and listening to her while taking something from the fridge) Dac? vreau s? fiu o po?et?? (Ross continu? s? o priveasc? ?i s? o asculte, în timp ce î?i ia ceva din frigider)
Or a hat?” Sau o p?l?rie?”
No, I don’t want you to buy me a hat, I am saying that I am a hat. Nu, nu vreau s? îmi cumperi o p?l?rie, spun doar c? sunt p?l?ria.
It’s a metaphor, Daddy! Este o metafor?, tati!
Ross: You can see where he’d have trouble. (Rachel looks upset at him) Po?i s? vezi unde are avea probleme. (Rachel îl prive?te sup?rat?)
Rachel: Look, Daddy, it’s my life. Uite, tati, este via?a mea.
Well, maybe I’ll just stay here with Monica. (Everybody looks at Monica) Ei bine, poate voi sta aici cu Monica. (Toat? lumea o prive?te pe Monica)
Monica: I guess we’ve established she’s staying with Monica. B?nuiesc c? am stabilit c? r?mâne aici cu Monica.
Rachel (to her dad): Well, maybe that’s my decision. Rachel (c?tre tat?l ei): Ei bine, poate este decizia mea.
Well, maybe I don’t need your money. Ei bine, poate n-am nevoie de banii t?i.
Wait! Wait! I said maybe! A?teapt?! A?teapt?! Am spun poate!
Monica: Just breathe. Breathe that’s it. (Rachel blows into a bag) Doar respir?. Respir?, asta e. (Rachel sufl? într-o pung?)
Just try to think of nice, calm things. Încearc? s? te gânde?ti la lucruri frumoase, lini?titoare.
Pheobe (starts singing) Raindrops on roses
And whiskers on kittens (Începe s? cânte) Pic?turi de ploaie pe trandafiri,
?i must??i de pisoi
Doorbells and sleigh bells
And something with mittens Clopo?ei ?i s?nii cu zurg?l?i
?i ceva cu m?nu?i
La la la something
And something with string. (Rachel stops blowing in the bag and looks at her) La la la ceva
?i ceva cu strune. (Rachel se opre?te s? sufle în pung? ?i o prive?te)
Rachel (trying to stop her): I’m all better now. Rachel (încercând s? o opreasc?): M? simt mult mai bine acum.

Pheobe (happy, she is going in the kitchen): I helped. Pheobe (fericit?, merge în buc?t?rie): Am ajutat.
Monica: Look, this is probably for the best, you know? Uite, poate a?a e cel mai bine, ?tii?
Independence. Taking control of your life. Independen??. S? î?i controlezi via?a.
The whole ”hat” thing. Toat? chestia cu “p?l?ria”.

Joey: And hey, if you need anything, you can always come to Joey. ?i dac? ai vreodat? nevoie de ceva, întotdeauna po?i s? apelezi la Joey.
Me and Chandler live right across the hall. And he’s away a lot. Eu ?i cu Chandler locuim chiar vizavi. Iar el este mai tot timpul plecat.
Monica: Joey, stop hitting on her! It’s her wedding day. Joey, înceteaz? s? te mai dai la ea! Este ziua nun?ii ei!
Joey: What? Like there’s a rule or something? Ce? De parc? exist? vreo regul? sau ceva?
Chandler: I got it. Deschid eu.
Please don’t do that again. It’s a horrible sound. Te rog nu mai face asta. Este un sunet oribil.

Paul: It’s Paul. Sunt Paul.
Monica: Buzz him in. Las?-l s? intre.

Joey: Who’s Paul?
Ross: Paul, the wine guy? Joey: Cine e Paul?
Ross: Paul, tipul cu vinul?
Monica: Maybe. Poate.
Joey: Wait a minute, your ”not a real date,” tonight is with Paul, the wine guy? A?teapt? o clip?, tipul cu vinul, adic? cel cu care nu ai înt?lnire desear? este Paul?
Ross: He finally asked you out? ?i-a dat întâlnire pân? la urm??
Monica (she is happy, Ross kisses her head): Yes. Monica (e fericit?, Ross o s?rut? pe cap): Da.

Chandler: Ooh, this is a ”Dear Diary” moment. Ooh, acesta e un moment care merit? trecut în jurnal.
Monica: Rach, wait, I can cancel. Rach, stai, pot amâna.
Rachel: Oh, God. Please, no. Go, I’ll be fine. Oh, Doamne. Te rog, nu. Du-te, o s? fiu bine.
Monica: Ross, are you okay? I mean, do you want me to stay? Ross, e?ti în regul?? Adic? vrei s? r?mân?
Ross (trying to look sad) That’d be good. Ross (încercând s? arate trist): Ar fi bine.
Monica: Really?
Ross: No, go on! It’s Paul, the wine guy! -Serios?
– Nu, du-te! E Paul, tipul cu vinul.
Monica: Hi, come in! Paul, this is. . . Salut, intr?! Paul, ei sunt…

…everybody. Everybody, this is Paul. …toat? lumea. Toat? lumea, el este Paul.
Joey: The wine guy.

Chandler: I’m sorry, I didn’t catch your name. Paul was it? – Tipul cu vinul.

-Îmi pare r?u, nu ?i-am re?inut numele, era Paul?
Monica: Okay. Sit down. Two seconds.
Paul: Okay. (Ross whispers to Monica: He’s tall, great job!) -Ok. A?eaz?-te. Dou? secunde.

-Ok. (Ross îi ?opte?e Monic?i: Este înalt, bun? treab?!)
Pheobe: I just pulled out four eyelashes. That can’t be good. Tocmai mi-am smuls patru gene. Nu poate fi de bine.
Ross: Rachel, what are you up to tonight? Rachel, ce planuri ai pentru desear??
Rachel: Well, I was kind of supposed to be headed for Aruba on my honeymoon… Ei bine, trebuia s? zbor spre Aruba, în luna de miere…
…so, nothing. …deci, nimic.
Ross: Right. You’re not even getting your honeymoon. Oh, God… Corect. Nu pleci nici m?car în luna de miere. Oh, Doamne…
God. No, no. Although, Aruba. This time of year? Eh… Talk about your. . . Doamne. Nu, nu. Totu?i, Aruba. În aceast? perioad? din an? Eh… S? nu mai pomenim de..

…big lizards. (Rachel lokks heavy-hearted) …?op?rlele imense. (Rachel arat? întristat?)
Ross: Anyway, if you don’t feel like being alone tonight… Oricum, dac? sim?i nevoia s? nu fii singur? în seara asta…

…Joey and Chandler are coming over to help me put together my new furniture. …Joey ?i Chandler m? ajut? s? montez noua mea mobil?.

Chandler (sarcastically): Yes and we’re very excited about it! Chandler (sarcastic): ?i suntem foarte entuziasma?i de asta!
Rachel: Thanks. But I’m just gonna hang out here. It’s been a long day. Mersi. Dar cred c? r?mân aici în seara asta. A fost o zi lung?.

Ross: Okay. Sure. Ok. Sigur.
Joey: Pheebs, you wanna help? Phebbs, vrei sa aju?i?
Pheobe: I wish I could, but I don’t want to. A? vrea s? pot, dar nu vreau.

(Later, at Ross’s apartment)
Ross (He hunkers): I’m supposed to attach a bracket-y thing to the side things… (Mai târziu, în apartamentul lui Ross)
Ross (St? ciuci): Ar trebui s? fixez o chestie în form? de parantez? de p?r?ile laterale…

…using a bunch of these little worm guys. …folosind câ?iva dintre viermi?orii ??tia.

I have no bracket-y thing. I see no worm guys whatsoever… (Looking perplexed around) Nu am nicio chestie în form? de parantez?. Nu vâd niciun viermi?or de orice fel… (Privind perplex în jur)
…and I cannot feel my legs. …?i nu îmi simt picioarele.
Joey: What’s this? (Looking confused at something) Ce e asta? (Privind confuz la ceva)
Chandler: I have no idea. Nu am nicio idee.
Joey (Hides it in the root): Done with the bookcase.

Chandler: All finished. Joey (Îl ascunde în ghiveci): Am terminat cu biblioteca.

Chandler: Totul e gata.

Ross (Watching a can while keeping his hand on the chest): This was Carol’s favorite beer. Ross (Privind o doz? în timp ce î?i tine mâna pe piept): Aceasta era berea preferat? a lui Carol.
She always drank it out of the can. I should have known. Întotdeauna obi?nuia s? bea direct din cutie. Trebuia s? ?tiu.

Joey: Hey Ross, let me ask you a question. Hei, Ross, las?-m? s? te întreb ceva.
She got the furniture, the stereo, the good TV. Ea a luat mobila, combina stereo, televizorul cel bun.
What did you get? Tu ce ai luat?
You guys. Pe voi.
Chandler: Oh, my God.

Joey: You got screwed. -Oh, Doamne.

-Te-a dus de nas.

(At the restaurant)
Monica: Oh, my God.

Paul: I know, I know. I’m such an idiot. (La restaurant)
-Oh, Doamne.

-?tiu, ?tiu. Sunt un mare idiot.

I guess, I should’ve caught on when she started going to the dentist four and five times a week. Cred c? trebuia s? îmi dau seama când a început s? mearg? la dentist de patru ?i cinci ori pe s?pt?mân?.

I mean, how clean can teeth get? Vreau s? spun, cât de albi pot s? devin? din?ii?
Monica: My brother’s going through that right now. He’s such a mess. Fratele meu trece prin asta acum. E terminat.
How did you get through it? Cum ai reu?it s? treci peste moment?
Paul: He might try accidentally breaking something valuable of hers. Ar putea încerca s?-i rup?, din gre?eal?, un obiect de pre?.

Say her…
Monica: Leg? -S? zicem…
-Piciorul ei?
Paul: That’s one way of going through it. ?sta e un fel de a dep??i momentul.
Me, I went for the watch. Eu am ales ceasul.

Monica: You actually broke her watch? Chiar i-ai distrus ceasul?
Rachel: Barry, I’m sorry. I am so sorry. Barry, îmi pare r?u. Îmi pare atât de r?u.

I know, you probably think this is all about what I said the other night about you making love with your socks on, but it isn’t. ?tiu, probabil crezi c? e vorba de noaptea trecut? când am zis de faptul c? por?i ?osete când facem dragoste, dar nu e a?a.

It’s about me. And I just.. E vorba de mine. ?i eu…

Machine cut me off again. Anyway…. Robotul mi-a închis din nou. Oricum…

Ross: You know what the scariest part is? What if there is only one woman for everybody? ?tii ce m? sperie cel mai tare? Dac? exist? doar o singur? femeie pentru fiecare?
I mean, what if you get one woman, and that’s it? Adic?, dac? ai parte de o femeie ?i gata?
Unfortunately, in my case, there was only one woman for her. Din nefericire, în cazul meu, era doar o femeie… pentru ea!
Joey: What are you talking about? One woman… Despre ce vorbe?ti? O femeie…
That’s like saying there’s only one flavor of ice cream for you. E ca ?i cum ai spune c? exist? doar o arom? de înghe?at? pentru tine.
Let me tell you something, Ross. There’s lots of flavors out there. Las?-m? s? î?i spun ceva, Ross. Exist? o mul?ime de arome.

Rocky road, and cookie dough, and bing cherry vanilla. Exist? cu ciocolat?, cu pi?coturi, ba chiar ?i cu cirese ?i vanilie.

You can get them with jimmies, or nuts, or whipped cream. Le po?i combina cu ornamente, alune sau fri?c?.
This is the best thing that ever happened to you! Acesta e cel mai bun lucru care ?i s-a întâmplat.
You got married. You were like, what? Eight? Te-ai c?s?torit. Aveai cât, 8 ani?
Welcome back to the world. Grab a spoon! Bine ai venit în lume. Ia o lingur?.

Ross: I honestly don’t know if I’m hungry or horny. Chiar nu ?tiu dac? mi-e foame sau sunt excitat.

Chandler: Then stay out of my freezer. Atunci stai departe de frigiderul meu.

Paul: Ever since she walked out on me, I… De când m-a p?r?sit, eu…

Monica: What? What? Ce? Ce?
You wanna spell it out with noodles? Vrei s? scrii cu t?ie?ei?
Paul: No, it’s more of a fifth date kind of revelation. Nu, asta e mai degrab? genul de revela?ie pe care o ai la a cincea întâlnire.
Monica: So there’s going to be a fifth date? Deci va exista o a cincea întâlnire?
Paul: Isn’t there? Nu-i a?a?
Monica: Yeah, yeah. I think there is. Ba da, ba da. Cred c? da.
What were you gonna say? Ce aveai de gând s? spui?
Paul: Well, er, uh… Ever since she left me… Ei bine, er, uh… De când m-a p?r?sit…

…I haven’t been able to perform… (Monica is drinking from a cup) …nu am mai fost capabil s? func?ionez… (Monica bea dintr-o can?)
…sexually. (Hearing this, she accidentally spits the drink on him) …din punct de vedere sexual. (Auzind asta, scuip? din gre?eal? b?utura pe el)
Monica: Oh, God! Oh, God! Oh, doamne! Oh, Doamne!
I’m so sorry. Îmi pare atât de r?u.

Being spit on is probably not what you need right now. Probabil s? fii scuipat nu este ceea ce ai nevoie acum.

How long? De cât timp?
Paul: Two years. Doi ani.

Wow! I’m glad you smashed her watch. Uau! M? bucur c? i-ai distrus ceasul.
Paul: So you still think you might want that fifth date? Deci crezi c? ai mai vrea cea de-a cincea întâlnire?
Yeah, I do. Da, cred.
(Rachel is watching TV) I, Joanie, take you, Charles, as my lawful husband. (Rachel se uit? la televizor) Eu, Joanie, te iau pe tine, Charles, s? fii so?ul meu…

Rachel (Crying): Oh, see.. Rachel (Plângând): Oh, vezi…

But Joanie loved Chachi. That’s the difference. Dar Joanie l-a iubit pe Chachi. Asta este diferen?a.

Ross (Unmotivated): ”Grab a spoon.” Ross (F?r? motiva?ie): “Ia-?i o lingur?.”
Do you know long it’s been since I grabbed a spoon? ?tii cât timp a trecut de când am apucat o lingur??
Do the words, ”Billy, don’t be a hero,” mean anything to you? Cuvintele “Billi, nu face pe eroul”, înseamn? ceva pentru voi?
You know, here’s the thing. Even if I could get it together enough… ?ti?i, asta e chestia. Chiar dac? reu?esc..

…to ask a woman out… …s? invit o femeie în ora?…

…who am I going to ask? …pe cine s? invit?
(Romantic music on the background. Rachel is watching alone and sad on the window in Monica’s apartment) (Muzic? romantic? pe fundal. Rachel prive?te singur? ?i trist? pe geam în apartamentul Monic?i)
(The next day in the morning)
Rachel: Isn’t this amazing? I mean, have never made coffee before in my entire life. (A doua zi de diminea??)
Nu e uimitor? Adic? nu am mai f?cut niciodat? cafea.

Chandler: That.. is amazing.

Joey: Congratulations. – Asta.. este uimitor.

– Felicit?ri.
Joey: While you’re on a roll, if you feel like you gotta make a Western omelet or something…(Joey and Chandler start drinking the coffee, they both grimace and throw it in the root from the table) Dac? tot e?ti în mi?care, dac? sim?i nevoia s? faci ?i o omlet? sau ceva… (Joey ?i Chandler încep s? bea din cafea, amândoi se strâmb? ?i o arunc? în ghiveciul de pe mas?)
Joey: Although, actually I’m really not that hungry this morning. De?i, de fapt chiar nu mi-e atât de foame în diminea?a asta.
(Monica gest out of her room)
-Good morning!
-Good morning! (Monica ias? din camera ei)
– Bun? diminea?a!
– Bun? diminea?a!
(In short time, Paul also gets out)
-Morning, Paul! (În scurt timp, ias? ?i Paul)
– Nea?a!
– Nea?a, Paul!
-Hello, Paul.

Chandler: Hi. Paul, is it? – Bun?, Paul.

Chandler: Bun?! Este Paul?
Monica (Sending Paul off): I had a really great time last night… (Rachel, Chandler and Joey start drawing the table closer to the door) Monica (îl conduce pe Paul): M-am sim?it chiar bine azi-noapte. (Rachel, Chandler ?i Joey încep s? trag? masa mai aproape de u??)
Paul: Thank you, thank you so much. Mul?umesc, mul?umesc foarte mult.
Monica: We’ll talk later, okay? Vorbim mai târziu, ok?
Paul: Yeah. (They kiss) Da. (Se s?rut?)
Paul: Thank you. Paul: Mul?umesc
(Rachel, Chandler and Joey are amused) Joey: That wasn’t a real date. (Rachel, Chandler ?i Joey sunt amuza?i) Aia nu era o întâlnire adev?rat?.

What the hell do you do on a real date? Ce naiba faci la o întâlnire adev?rat??
Monica: Shut up and put my table back. Taci ?i a?eaz?-mi înapoi masa.
Chandler: All right, kids, I gotta get to work. În regul?, copii, trebuie s? merg la serviciu.

If I don’t input those numbers… it doesn’t make much of a difference. Dac? nu introduc numerele alea… nu face mare diferen??.
Rachel: So, like, you guys all have jobs? Deci, voi to?i ave?i serviciu?
Monica: Yeah, we all have jobs. Da, to?i avem serviciu.

See, that’s how we buy stuff… Vezi, a?a ne cump?r?m lucruri.
Joey: Yeah, I’m an actor. Da, eu sunt un actor.

Rachel: Wow, would I have seen you in anything? Uau, se poate s? te fi v?zut în ceva?
Joey: I doubt it. Mostly regional work. M? îndoiesc. În mare parte lucrez în zon?.
Monica: Wait, wait… unless you happened to catch the Wee One’s production of Pinocchio… Stai, stai… Doar dac? nu ai apucat s? vezi produc?ia Wee One a lui Pinocchio…

Chandler: ”Look, Geppeto. I’m a real live boy. ” “Prive?te, Geppeto. Sunt un b?iat adev?rat.”
Joey: I will not take this abuse. Nu voi accepta acest abuz.

Chandler: You’re right. I’m sorry. Ai dreptate. Îmi pare r?u.

(He starts singing and imitating Pinocchio)
Once I was a wooden boy, a little wooden boy. (Începe s? cânte ?i s? îl imite pe Pinocchio)
Odat? eram un b?ie?el din lemn, un b?ie?el mic din lemn.

Monica: How are you doing today? You sleep okay? Cum te sim?i ast?zi? Ai dormit bine?
Did you talk to Barry? I can’t stop smiling. Ai vorbit cu Barry? Nu m? pot opri s? zâmbesc.

I can see that. You look like you slept with a hanger in your mouth. V?d asta. Ar??i de parc? ai dormit cu un umera? în gur?.

I know. He’s just so.. ?tiu. Este atât de…

Remember you and Tony De Marco? Î?i aminte?ti de tine ?i Tony De Marco?
Well, it’s like that. With feelings. Ei bine, a?a este. Dar cu sentimente.
Rachel: Are you in trouble! -Ai dat de naiba.

Monica: Okay, okay. I’m just going to get up, go to work, and not think about him all day. Ok, ok. M? voi ridica, voi merge la lucru ?i nu m? voi gândi deloc la el ast?zi.
Or else I’m just going to get up and go to work. Sau m? voi ridica ?i voi merge la lucru.

Rachel: Wish me luck!
Monica: What for? – Ureaz?-mi noroc!
– Pentru ce?
Rachel: I’m gonna go get one of those job things. Voi merge s? ob?in unul din lucrurile alea care se nume?te serviciu.

(Later, at work)
Franny: Hey, Monica.

Monica: Hey, Franny. Welcome back. How was Florida? (Mai târziu, la serviciu)
-Hei, Monica
-Hey, Franny. Bine ai venit înapoi. Cum a fost în Florida?
Franny: You had sex, didn’t you? Ai f?cut sex, nu-i a?a?
Monica: How do you do that? Cum faci asta?
Franny: So, who? Deci, cine?
Monica: You know Paul? Îl ?tii pe Paul?
Franny: Paul, the wine guy? (Monica is nodding) Paul, tipul cu vinul? (Monica d? din cap)
Franny: Oh, yeah, I know Paul. Oh, da, îl ?tiu pe Paul.

Monica: You mean, you know Paul like I know Paul? Adic?, te referi c? îl ?tii pe Paul a?a cum îl ?tiu eu?
Franny: Are you kidding? I take credit for Paul. Before me, there was no snap in his turtle for two years. (Monica stands with her mouth open) Glume?ti? E meritul meu. Înaintea mea, nu a avut parte de nimic timp de doi ani. (Monica r?mâne cu gura c?scat?)
(Later, at the coffee shop)
Joey: Of course it was a line. (Mai târziu, la cafenea.)
Desigur c? era o replic?.

Monica: Why? Why would anybody do something like that? De ce? De ce ar face cineva asta?
Ross: I assume we’re looking for an answer more sophisticated than. . . Presupun c? vrei un r?spuns mai sofisticat decât…

…”To get you into bed.” …”s? te bage în pat.”
Monica: Is it me? Eu sunt de vin??
Is it like I have some sort of beacon that only dogs. . . Este ca ?i cum a? avea un fel de emi??tor pe care doar câinii…

…and men with severe emotional problems can hear? …?i b?rba?ii cu probleme emo?ionale severe îl pot auzi?
Pheobe: All right, come here. Give me your feet. În regul?, haide aici. D?-mi picioarele.

Monica: I just thought he was nice, you know? Credeam c? era dr?gu?, ?tii?
Joey: I can’t believe you didn’t know it was a line. (Monica is pushing him off the couch) Nu pot s? cred c? nu ?tiai c? era o replic? de ag??at. (Monica îl impinge jos de pe canapea)
Rachel (She comes in with a shopping bag in her hand): Guess what? Rachel (Intr? cu o plas? de cump?r?turi în mân?): Ghici?i ce?
Ross: You got a job?
Rachel: Are you kidding? – Ai ob?inut o slujb??
– Glume?ti?
I’m trained for nothing. Sunt preg?tit? pentru a nu face nimic.
I was laughed at 12 interviews today. Au râs de mine la 12 interviuri ast?zi.

Chandler:Yet you’re surprisingly upbeat. Totu?i, e?ti surprinz?tor de bine dispus?.

Rachel: You would be too if you found Joan and David boots on sale… 50% percent off. ?i tu ai fi dac? ai fi g?sit cizmele Joan ?i David de vânzare… cu 50% reducere.

Chandler: How well you know me… Ce bine m? cuno?ti…

Rachel: They’re my new, ”I don’t need a job, I don’t need my parents, I’ve got great boots,” boots. Acestea sunt noile mele cizme intitulate “Nu am nevoie de serviciu, nu am nevoie de p?rin?i, am ni?te cizme extraordinare.”
Monica: How did you pay for them?
Rachel: Credit card. – Cum le-ai pl?tit?
– Cu cardul.

Monica: And who pays for that? ?i cine pl?te?te pentru asta?
Rachel: Um, my father. Um, tata.
(At Monica’s apartment, all Rachel’s cards are on the table, next to a scissors)
Monica: Come on, you can’t live off your parents your whole life. (În apartamentul Monic?i, toate cardurile lui Rachel se afl? pe mas? lâng? o foarfec?)
Monica: Haide, nu po?i s? tr?ie?ti de pe urma p?rin?ilor tot restul vie?ii.

Rachel: I know that. That’s why I was getting married. ?tiu asta. ?sta e motivul pentru care urma s? m? c?s?toresc.
Pheobe: Give her a break. It’s hard being on your own for the first time. L?sa?i-o în pace. Este greu când e?ti prima dat? pe cont propriu.
Rachel: Thank you.

Pheobe: You’re welcome. -Mul?umesc.

-Cu pl?cere.

I remember when I first came to this city, I was 14. Îmi amintesc când am venit prima dat? în ora?ul ?sta, aveam 14 ani.

My mom had killed herself and my stepdad was in prison. Mama se sinucise ?i tat?l meu vitreg era la închisoare.

And I got here, and I didn’t know anybody. ?i am ajuns aici ?i nu ?tiam pe nimeni.

I ended up living with this albino guy who was cleaning windshields outside the Port Authority Am ajuns s? tr?iesc cu un albinos care sp?la parbrize în afar? portului Authority.
And then he killed himself. (Rachel is terrified) ?i apoi el s-a sinucis. (Rachel este îngrozit?)
Then I found aromatherapy. Believe me, I know exactly how you feel. (Rachel is astonished) Apoi am descoperit aromaterapia. Crede-m?, ?tiu exact cum te sim?i. (Rachel este uimit?)
Ross: The word you’re looking for is…
”Anyway… ” Cuvântul pe care îl cau?i este…
Monica: You ready? E?ti preg?tit??
Rachel: I don’t think so. Nu prea cred.

Ross: Oh, come on.. Haide..

Everybody: Cut, cut, cut, cut, cut. Toat? lumea: Taie, taie, taie, taie, taie.
(Rachel starts cutting the credit cards)
Hey! All right! (Rachel începe s? taie c?r?ile de credit)
Hei! În regul?!
Monica: Welcome to the real world! Bine ai venit în lumea real?!
It sucks. You’re gonna love it. (Hugging her) Este de rahat. O s? î?i plac? la nebunie. (Îmbr??i?ând-o)
(Later in Monica’s living-room)
Monica: That’s it. (She turns off the TV) (Mai târziu, în sufrageria Monic?i) Monica: Asta a fost. (Stinge televizorul).
You gonna crash on the couch? Te întinzi pe canapea?
Ross: No, I gotta go home sometime.

Monica: Are you gonna be okay? -Nu, trebuie s? merg acas? la un moment dat.

-Vei fi în regul??
Ross: Yeah. Da.

Rachel: Hey Mon, look what I just found on the floor. Hei, Mon, uite ce am g?sit pe jos.

Monica: That’s Paul’s watch. Acela este ceasul lui Paul.

You can just put it back where you found it. (Rachel puts it back on the floor) Po?i s? îl pui înapoi unde l-ai g?sit. (Rachel îl pune înapoi pe podea)
Monica (Getting up from the couch):
Oh, boy! All right. Monica (Ridicându-se de pe canapea): În regul?.

-Good night, everybody.

-Good night. (Monica smashes Paul’s watch with her foot) -Noapte bun? tuturor.
-Noapte bun?. (Monica zdrobe?te ceasul lui Paul cu piciorul)
(Rachel and Ross are looking amazed at each other. Then, at the same time, they are leaning to take the last cookie from the plate.)
Rachel: I’m sorry.

Ross: No! (Rachel ?i Ross se uit? uimi?i unul la cel?lalt. Apoi, amândoi se apleac? în acela?i timp s? ia ultimul fursec de pe farfurie).
-Îmi pare r?u.

Rachel: No, have it, really, I don’t want it.

Ross: Split it? -Nu, ia-l, serios, nu îl vreau.

-O împ?r?im?

-Okay.. -Ok…


Ross: You probably didn’t know this, but back in high school I had… a major crush on you. Probabil nu ?tiai asta, dar pe când eram în liceu… îmi pl?cea foarte mult de tine.

Rachel: I knew. ?tiam.

Ross: You did? Oh. ?tiai? Oh..

I figured you just thought I was Monica’s geeky older brother. Aveam impresia c? p?rerea ta era c? sunt doar fratele n?tâng mai mare al Monic?i.
Rachel: I did. A?a era.

Ross: Oh… Listen, do you think… Oh… Ascult?, crezi c?…

And try not to let my intense vulnerability become any kind of a factor here. (Rachel is smiling) ?i nu l?sa vulnerabilitatea mea s? te influen?eze în vreun fel. (Rachel zâmbe?te)
But do you think it would be okay if I asked you out sometime, maybe? Dar crezi c? ar fi ok dac? te-a? invita la o întâlnire, cândva?
Rachel: Yeah…maybe.. (she is smiling while putting her half cookie back on the plate) Da… Poate… (ea zâmbe?te în timp ce pune jum?tatea de fursec înapoi pe farfurie)
Ross: (He is looking at his half cookie, thinking…) Okay, maybe I will. (Rachel starts laughing) (Se uit? la jum?tatea sa de fursec, gândindu-se…) Ok, poate o s? o fac. (Rachel începe s? râd?)
-Good night.

-Good night. (Rachel enters her room and Ross starts eating his cookie with great satisfaction) -Noapte bun?.

-Noapte bun?. (Rachel intr? în camera ei, iar Ross începe s? î?i mânânce fursecul cu mare satisfac?ie.)
(The door opens, Monica comes out from her room) Monica: See you. Wait, wait. (Se deschide u?a, Monica ias? din camera ei)
Monica: Ne mai vedem. A?teapt?, a?teapt?.

What’s with you? Ce e cu tine?
Ross: I just grabbed a spoon. Tocmai am apucat o lingur?.
(The next day)
Joey: I can’t believe what I’m hearing. (Ziua urm?toare)
Nu pot s? cred ce aud.

Pheobe (starts singing)
I can ‘t believe what I’m hearing Nu pot s? cred ce aud…

Monica: What? I said you had…
Phoebe: What? I said you had… – Ce? Am spus c? ai..

– Ce? Am spus c? ai..

Monica: Would you stop? Vrei s? te opre?ti?
Phoebe: Was I doing it again? F?ceam asta din nou?
Everybody: Yes.. Toat? lumea: Da..

Rachel (With the coffee filter in her hand): Would anybody like more coffee? Rachel (Cu filtrul de cafea în mân?): Mai vrea cineva cafea?
Chandler: Did you make it or you just serving it? Tu ai f?cut-o sau doar o serve?ti?
Rachel: I’m just serving it. – Doar o servesc.

Everybody: I’ll have a cup of coffee. Toat? lumea: O s? beau o can? de cafea.

Chandler: Kids, new dream. I’m in Las Vegas. Copii, un vis nou. M? aflu în Las Vegas.

I’m Liza Minnelli. Sunt Liza Minnelli.
Season 1, episode 2 from The Office – Diversity Day (Ziua Diversit??ii)

The main characters are:
Michael Scott – “the reginal manager”
Pam Beesly – “the uncomfortable receptionist”
Dwight Schrute – “the top salesman”
Jim Halpert – the office “funny-guy”
Michael (Opening the door from the meeting room): Hey ya, may I help you out here?
Mr.Brown (Making the last arrangements): I’m all set thank you. Michael (Deschizând u?a de la sala de ?edin?e): Hei, pot s? te ajut aici?
Mr.Brown (F?când ultimele aranjamente): Am totul aranjat, mul?umesc.

Michael: Got you! Good, I “go with the rows.”
Mr. Brown: That’s a good idea. -Am în?eles! Bun, îi înso?esc pe ceilal?i.
-E o idee bun?.
(In his Office)
Michael: Today is Diversity Day and someone is going to come in and talk to us about diversity, something that I’ve been pushing, (În biroul s?u)
Ast?zi e Ziua Diversit??ii ?i cineva va veni s? ne vorbeasc? despre diversitate, ceva ce-am scos în eviden??,
that I’ve been wanting to push for a long time, and corporate mandated it, Ce am vrut s? scot în eviden?? de mult timp, ?i corpora?ia a ordonat asta
and I never actually talked to corporate about it, ?i de fapt n-am vorbit niciodat? cu corpora?ia despre asta,
they kind of beat me to the punch, Ei mi-au cam luat-o înainte,
those bastards ! nemernicii!
But I was going to, and I think it’s very important that we have this, Dar eram pe punctul de a o face, ?i este foarte important c? avem asta,
I’m very, very excited. Sunt foarte, foarte entuziasmat.
Jim (Talking on the phone): That’s the thing, it’s a very sturdy paper, and on the back it says : 100% post consumer content. Jim (Vorbind la telefon): Asta e ideea, este o hârtie foarte rigid?, iar pe spate scrie: 100% con?inut post-consumator.

What? Hello, aha, wait what? Poftim? E?ti acolo, aha, a?teapt?, poftim?
I’m sorry Mister Decker, I think I’m losing you. (Dwight starts using the paper cutting machine, thus creating interference) Îmi pare r?u domnule Decker, cred c? v? pierd. (Dwight începe s? foloseasc? ma?ina de t?iat hârtie, astfel creând bruiaj)
Hello? Hello? Yeah, hold on one sec, I don’t know, hold on one second. Alo? Alo? A?tepta?i o secund?, nu ?tiu, a?tepta?i o secund?.
Do you really have to do that right now? Chiar trebuie s? faci asta acum?
Dwight: Yes I do. Da, trebuie.

I should have done this weeks ago actually. De fapt, trebuia s? fi f?cut asta cu s?pt?mâni în urm?.

Mister Decker, I’m sorry about that, would you wait one second? Domnule Decker, îmi pare r?u pentru asta, vre?i s? a?tepta?i o secund??
Yeah, just one second. Thanks. (He switches off the paper cutting machine) Da, doar o secund?. Mul?umesc. (Opre?te ma?ina de t?iat hârtie de la întrerup?tor)
Hello? That’s it, perfect. So what I was saying was… hello? (Dwight closes his call) M? auzi?i? Asta e, perfect. Deci ceea ce spuneam era… alo? (Dwight îi închide apelul)
Thanks Dwight. Mersi Dwight.

Dwight: “Retaliation.” Tit for tit. “R?zbunare”. Ochi pentru ochi, ?i dinte pentru dinte.
Jim: That is not the expression. Nu asta este expresia.

Dwight: Well, it should be. (And turns on the paper cutting machine again) Ei bine, ar trebui s? fie. (?i reporne?te ma?ina de t?iat hârtie)
Jim: This is my biggest sale of the year. Asta este cea mai mare vânzare a mea de pe tot anul.

They love me over there, for some reason, I’m not really sure why, M? îndr?gesc acolo, din diferite motive, nu sunt sigur de ce,
but you know, I make one call over there, every year, just to renew their account. Dar ?tii, în fiecare an sun acolo, doar pentru a le reînnoi contul.
And that one call ends up being 25% of my commission, for the whole year. ?i acel telefon ajunge s? fie 25% din comisionul meu, pentru întregul an.

So you know, I buy a mini bottle of champagne, and celebrate a little. ?tii, îmi cump?r o sticl? mic? de ?ampanie ?i s?rb?toresc pu?in.
And this year, I’m pushing recycled paper on them, for one percent more. În acest an, am s? le dau hârtia reciclat? pentru un procent în plus.

I know, getting cocky, right? ?tiu, devin încrezut, nu-i a?a?
(Pam, the receptionist, is playing on the computer) (Pam, recep?ionera, se joac? pe calculator)
Jim: Solitaire? Solitaire?
Pam: Yeah, Freecell. Da, Freecell.

Jim: A 6 on 7. 6 pe 7
Pam: I know, I saw that. ?tiu, am v?zut-o.

Jim: So then why didn’t you do it? ?i de ce nu ai f?cut-o?
Pam: I’m saving that, cause I like it when the cards go… O p?strez, îmi place când se duc c?r?ile…
Jim: Who doesn’t love that? (Pam chuckles) Cui nu-i place asta? (Pam chicote?te)
(Angela is eating a banana, Kevin is writing on the computer) (Angela m?nânc? o banan?, Kevin scrie la calculator)
(Michael opens the door of his office, and seeing that Mr. Brown has not come out yet, he goes back inside and gets out again at the same time when the other one opens the door of the meeting room) (Michael deschide u?a biroului s?u, ?i v?zând c? Dl.Brown nu a ie?it înc?, intr? înapoi ?i ias? din nou, în acela?i timp când cel?lalt deschide u?a de la sala de ?edin?e)
Michael (Getting the drop of Mr. Brown) Hey! Oscar, how you doing man? (Oscar is a little bit surprised of Michael’s attitude) Michael (Luându-i-o înainte Dl. Brown): Hei! Oscar, ce mai faci, omule? (Oscar este pu?in surprins de atitudinea lui Michael)
Oscar: All right. Bine.

Michael: A good week end going there? Ai avut parte de un sfâr?it de s?pt?mân? bun?
Oscar: It was fun. A fost distractiv.

Michael: Oh yeah I bet it was fun. (Michael is laughing out loud, without any special reason, while Oscar is smiling) Pun pariu c? a fost! (Michael râde zgomotos, f?r? un motiv special, în timp ce Oscar zâmbe?te)
(Michael reacts as if he did not know that Mr. Brown was behind him)
Michael: Oh hey! This is Oscar. (Michael reac?ioneaz? de parc? nu ?tia c? Dl. Brown era în spatele lui)
Oh, hei! El este Oscar.

Oscar: Martinez. (They are shaking hands) Martinez. (Ace?tia dau mâna)
Michael: See, I don’t even know, first name basis. Vezi, nici m?car nu ?tiu, primul nume este de baz?.
Mr.Brown: Ok, we’re all set. (He leaves) Ok, suntem gata. (Pleac?)
Michael: Oh hey, diversity everybody, let’s do it. Oscar works in here. (Pam has no reaction, she seems to be very bored) Oh, hei, diversitate toat? lumea, s? o facem. Oscar lucreaz? aici. (Pam nu are nicio reac?ie, pare s? fie foarte plictisit?)
Michael: (He sees Jim that he is trying to talk to the phone) Jim, can you rapid up please? (Îl vede pe Jim c? încearc? s? vorbeasc? la telefon) Jim, po?i s? te gr?be?ti, te rog?
Jim: Yeah, Mr.Decker, please. Da, Dl.Decker, v? rog.
Michael: It’s diversity day Jim. I wish everyday was diversity day. Este Ziua Diversit??ii, Jim. Îmi doresc ca în fiecare zi s? fi fost Ziua Diversit??ii.
Jim: You know what, I’m actually gonna have to call you back. ?ti?i ce, am s? v? sun eu înapoi.
Thank you, sorry about that. Mul?umesc, îmi pare r?u pentru asta.

(Inside the meeting room)
Mr. Brown (Taking some answers from the workers): Thank you. (În sala de ?edin?e)
Mr.Brown (Preluând r?spunsuri de la angaja?i): Mul?umesc.

Michael (Enters the meeting room and starts talking louder over Mr. Brown): Get in the cars! Get in the car! Michael (Intr? în sala de ?edin?e ?i începe s? vorbeasc? peste Dl. Brown): Intra?i în ma?ini! Intra?i în ma?in?!
Mr.Brown (Continues his work): Thank you. Thank you very much. (Î?i continu? activitatea) Mul?umesc. Mul?umesc foarte mult.
Ok thanks for filling these, and I promise this will be quick. Ok, mul?umesc pentru completarea acestora, ?i promit c? nu va dura mult.
At diversity today our philosophy is about
honesty and positive expectations, Azi de Ziua Diversit??i, filosofia noastr? este despre onestitate ?i speran?e pozitive,
we believe that 99% of the problems in the
work place arise simply out of ignorance. (Michael is standing right next to him, nodding and watching everybody) noi credem c? 99% din problemele de la
locul de munc? apar din simpl? ignoran??.

(Michael st? chiar lâng? el, aprobând ?i privind pe toat? lumea)
Michael: You know what? This is a color free zone here. Michael: ?tii ceva? Asta e o zon? f?r? culori.
Stanley, I don’t look at you as another race. (Stanley, being black, lifts up his eyebrow and lets his head down) Stanley, nu te privesc ca pe unul de alt? ras?. (Stanley, fiind negru, ridic? o sprâncean? ?i î?i las? capul în jos)
Mr. Brown: See, this is what I’m talking about, we don’t have to pretend that we’re color-blind. Dl.Brown: Vezi, despre asta vorbesc, nu trebuie s? ne prefacem c? suntem daltoni?ti.

Michael: Exactly. We’re not colorblinds. (Talking again over Mr. Brown) Exact. Nu suntem daltoni?ti.

(Vorbind din nou peste Dl.Brown)
Mr. Brown: That’s fighting ignorance with Dl.Brown: Asta înseamn? lupta împotriva ignoran?ei cu..

Michael: with intolerance. Michael: Cu intoleran??.

Mr. Brown: No, with more ignorance. Right, exactly. Instead we need to celebrate our diversity. Dl. Brown: Nu, cu mai mult? ignoran??. Corect, exact. În schimb, trebuie s? ne s?rb?torim diversitatea.
Michael: Let’s celebrate. Michael: S? s?rb?torim.

Mr. Brown: Great. Ok… (he can not continue his idea) Minunat. Ok… (nu î?i poate continua ideea)
Michael: “Celebrate good times. Come on!” Let’s celebrate diversity right? (Looking at Mr. Brown) “Celebr?m vremuri bune. Haide?i!” S? celebr?m diversitatea, corect? (Privindu-l pe Dl.Brown)
Mr. Brown: Yes, exactly. Now, here’s what we’re gonna do, I’ve noticed that uh… Da, exact. Acum, uite ce vom face, am observat c?…

Michael: You know what, here’s what we’re gonna do. ?ti?i ce, uite ce vom face.

What if we go around and everybody, everybody, Ce-ar fi s? facem un tur al s?lii, ?i toat? lumea, toat? lumea,
say a race that you are attracted to sexually, I will go last. (Dwight raises up his hand) Go. S? spun? o ras? de care se simte atras? din punct de vedere sexual, eu voi spune ultimul. (Dwight ridic? mâna) Spune.
Dwight: I have two. White and Indian. (Kelly, an Indian co-worker who is seating right next to him starts feeling embarrased) Eu am dou?. Alb? ?i Indian?. (Kelly, o coleg? indian? care st? chiar lâng? el, începe s? se simt? stânjenit?)
Michael: Nice. Dr?gu?.

Mr. Brown: Actually I prefer not to start that way. Dl.Brown: De fapt, prefer s? nu încep în felul ?sta.
Michael, I would love to have your permission to run this session, can I have your permission? Michael, a? vrea s? ?tiu dac? am permisiunea ta s? conduc eu ?edin?a, am permisiunea ta?
Michael (He leans back and looks at Mr. Brown and answers after a couple of seconds): Yes. (He starts looking down) (Michael se las? pe spate ?i îl prive?te pe Dl.Brown ?i r?spunde dup? dou? secunde) Da. (Începe s? priveasc? în jos)
Mr. Brown: Thank you very much. And it would also help me if you were seated. Mul?umesc foarte mult. ?i ar ajuta de asemenea dac? ai sta pe scaun.
Michael: Ok. (He pulls a chair in order to sit down) Ok. (Î?i trage un scaun pentru a se a?eza)
Mr. Brown: Thank you. Ok. (Michael starts frowning) Mul?umesc. Ok. (Michael începe s? se încrunte)
Now, at the start of the session I had you write down an incident that you found offensive in the workplace. Acum, la începutul acestei ?edin?e v-am cerut s? descrie?i un incident pe care l-a?i considerat a fi jignitor la locul de munc?.

Now what I’m gonna do is choose one and we’re gonna act like… Acum am s? aleg pe unul ?i o s? ne purt?m ca…

Dwight: A few other ground rules? Alte reguli de baz??
Michael: Hey, why don’t you run it by me and I run it by him? Hei, de ce nu urmezi dup? mine ?i eu dup? el?
Dwight: OK. Can we steer away from gay people? (Michael is rolling his eyes) Ok. Putem s? ne îndep?rt?m de homosexuali? (Michael î?i d? ochii peste cap)
Mr. Brown: I’m sorry, it’s an orientation, it’s not a race. (Michael is nodding and scratching inside his ear) Îmi pare r?u este o orientare, nu o ras?. (Michael aprob? ?i se scarpin? în ureche)
Dwight: Plus a lot of other racists are also intolerant at gays so, paradox. Plus c? mul?i al?i rasi?ti sunt de asemenea intoleran?i cu homosexualii deci, paradox.

Mr. Brown: Well we only have an hour. Ei bine, avem doar o or?.
Michael: Why don’t we just refer to Mr. uh? De ce nu ne referim la dl…  ?
Mr.Brown: Mr. Brown! Dl Brown!
Michael: Oh all right! ok! (Beating on Mr.Brown’s arm) Oh, în regul?! Ok! (B?tându-l pe bra? pe Dl.Brown)
First test, I will not call you that! Primul test, nu te voi numi a?a!
Mr. Brown (Being a black person): Well it’s my name it’s not a test, ok? Dl. Black (Fiind o persoan? de culoare neagr?): Ei bine, e numele meu, nu e un test, ok?
Mr. Brown: So, looking few cards I’ve noticed that many of you wrote down the same incident, Deci, citind câteva bilete am observat c? mul?i dintre voi au descris acela?i incident,
Which is ironic, because it’s the exact incident I was brought in here to respond to. Ceea ce este ironic, pentru c? este exact incidentul pentru care am fost chemat aici s? vorbim.

Now how many of you are familiar with the Chris Rock routine? Câ?i dintre voi sunte?i familiariza?i cu rutina Chris Rock ?
(Everybody raises their hands while Michael is perplexed) (Toat? lumea ridic? mâna în timp ce Michael r?mâne perplex)
Mr.Brown: Very good. Ok Foarte bine. Ok
Michael: How come Chris Rock can do a routine Cum se face c? Chris Rock poate face o rutin?
and everybody finds it hilarious, and ground breaking, ?i to?i g?sesc c? e amuzant?, inovatoare,
and I go into the exact same routine, same comedic timing, iar eu fac exact aceea?i rutin?, aceea?i sincronizare comic?,
and people file a complaint to corporate ? Iar oamenii m? reclam? la corpora?ie?
Is it because I’m white, and Chris is black? Este din cauz? c? sunt alb, iar Chris este negru?
Mr.Brown: So we’re gonna reenact this with a more positive outcome. Deci vom repune în scen? actul cu un rezultat mai pozitiv.
Michael (Is standing up): I will play the Chris Rock guy! Michael: (Se ridic? în picioare): Voi juca rolul lui Chris Rock.
I would like to see someone else pull this off. A? vrea s? v?d pe altcineva c? reu?e?te asta.

Mr.Brown: Oh, let’s have someone who wasn’t involve in the reenactment? Bine, s? alegem pe cineva care nu a fost implicat în reconstituire?
Michael: Ok, I will play guy listening. Ok, voi juca rolul celui care ascult?.
Mr. Brown: Great, guy listening. Grozav, cel care ascult?.

Ok anyone else remember? Deci, î?i aduce aminte cineva ?
Kevin: I remember. Eu îmi amintesc.

Mr. Brown: Great, you’re the Chris Rock guy and you’re the guy listening. Grozav, tu e?ti tipul Chris Rock, iar tu e?ti cel care ascult?.

Michael (sighs): Ok… Michael: (Ofteaz?) Ok…

Kevin is a great guy, Kevin este un tip grozav,
he’s a great accountant, he is not much of an entertainer. Un contabil excelent, nu prea are umor.
Kevin: Basically, there are two types of black people. În principiu, exist? dou? tipuri de oameni de culoare neagr?.
And black people are actually more racists, ?i oamenii de culoare sunt de fapt mai rasi?ti,
because they hate the other type of black people. pentru c? ur?sc cel?lalt tip de oameni de culoare.

Every time the one type wants to have a good time, De fiecare dat? când un tip de oameni de culoare vrea s? se distreze,
then the other type comes in and makes a real mess. (Michael is leaning back and forth on his chair, trying to say his idea) intervine cel?lalt tip ?i distruge totul. (Michael se las? pe spate ?i în fa?? pe scaun, încercând s?-?i spun? ideea)
Michael: Ok, I’m sorry, I’m sorry he’s ruining, he’s butchering it, could you just let me… Ok, îmi pare r?u, îmi pare r?u. El stric? tot, denatureaz?, m-ai putea l?sa…

(He starts talking louder and louder) Every time, every time black people want to have a good time, (Michael începe s? vorbeasc? din ce în ce mai tare) De fiecare dat?, de fiecare dat? când oamenii de culoare neagr? vor s? se simt? bine,
some (He swears) ass, I take care of my kids! Biiip! (Mr.Brown tries to stop him) Cineva (Înjur?), am grij? de copiii mei! (Înjur?) (Dl.Brown încearc? s? îl opreasc?)
…always want credit for something they’re supposed to do! (He is screaming) …întotdeauna a?teapt? s? fie l?uda?i pentru ceva ce trebuie s? fac?! (El ?ip?)
Mr. Brown: Stop it!!! (Silence in the room) Înceteaz?!!! (Lini?te în sal?)
Michael (Showing towards an employee): What do you want? A cookie? Michael (Ar?tând spre un angajat): Ce vrei? Un fursec?
(Jim’s phone starts to ring) (Telefonul lui Jim începe s? sune)
Mr. Brown: Now this is a simple acronym, H.E.R.O. Acesta este un acronim simplu, E.R.O.U.

At diversity today we believe it’s very easy to be a hero. Azi de Ziua Diversit??ii suntem de p?rere c? este foarte u?or s? fii erou.
All you need are Honesty, Empathy, Respect and Open mindedness. (Michael is taking notes) Tot ceea ce ai nevoie sunt Empatie, Respect, Onestitate ?i Lips? de prejudec??i. (Michael ia noti?e)
Dwight: Excuse me? I’m sorry but that’s not all it takes to be a hero. Poftim ? Îmi pare r?u, dar nu asta e tot ceea ce ai nevoie pentru a fi un erou.

Mr.Brown: Ok, well, what is a hero to you? Ok, ei bine, ce înseamn? pentru tine s? fii erou?
Dwight: A hero kills people. People that wish him harm. (Jim starts smiling, but tries not to) Un erou omoar? oameni. Oameni care doresc s? îi fac? r?u. (Jim începe s? zâmbeasc?, dar încearc? s? nu o fac?)
Mr. Brown: Ok. Ok.
Dwight: A hero is a part human, a part supernatural, (Kelly is frowning) Un erou este o parte uman, o parte supernatural, (Kelly se încrunt?)
a hero is born out of a child with trauma, or out of a disaster, Un erou ia na?tere dintr-un copil cu traume, sau dintr-un dezastru,
that must be avenged. Care trebuie s? fie r?zbunat.
Mr.Brown: Ok, you’re thinking of a superhero. Ok, tu te gânde?ti la un super erou.
Dwight: We all have a hero in our heart. Cu to?ii avem un erou în inima noastr?.
Mr. Brown: Now, I need you to take these forms, Trebuie s? lua?i aceste formulare,
this is the kind of expresses that joint the experience we had today. Acesta este dovada care atest? experien?a noastr? de azi.
And I want you to look them over and sign them, as a kind of a group pledge. ?i vreau s? v? uita?i peste ele ?i s? le semna?i, ca o promisiune de grup.

Michael: I don’t think I can sign this. Nu cred c? pot s? semnez asta.
Mr. Brown: I can’t leave until you do. Nu pot s? plec pân? nu semnezi.
Michael: It says here that I’ve learned something, Aici spune c? am înv??at ceva,
and I knew all this stuff already so… Iar eu ?tiam toate aste deja, deci…

You know I could sign something that says that I taught something ?tii, a? putea s? semnez ceva care spune c? am înv??at ceva
or that I helped you teach something so, Pam? Where’s she ? sau c? te-am ajutat s? înve?i ceva deci, Pam? Unde este?
Pam, could we change something on this ? Pam, am putea s? schimb?m ceva aici?
Mr. Brown: Michael, can I talk to you candidly? Pot s? vorbesc deschis cu tine?
Michael: Sure. Sigur.
Mr.Brown: We both know that I’m here because of the comments that you’ve made. Amândoi ?tim c? sunt aici din cauza comentariilor pe care le-ai f?cut.
Michael: Here’s the thing, this office, I think it’s very advanced, Uite cum st? treaba, cred c? acest birou este foarte avansat
in terms of racial awareness. În ceea ce prive?te cuno?tin?ele rasiale.
And it’s probably more advanced than you’re used to. ?i probabil c? este mult mai avansat decât e?ti obi?nuit.
That’s probably throwing you off a little bit. Asta probabil c? te deruteaz? pu?in.

Mr.Brown: It’s not throwing me, I need your signature. Nu m? deruteaz?, am nevoie de semn?tura ta.
Michael: Ok I know you told me that, several times. (Starts smiling) Ok, ?tiu, mi-ai spus asta de câteva ori. (Începe s? zâmbeasc?)
Mr. Brown: Yes, but you’re not listening to me, Da, dar nu m? ascul?i,
yours is the only signature I need. semn?tura ta este singura de care am nevoie.

Michael: Oh, ok. (Frowning and laughing) Oh, ok. (Încruntându-se ?i râzând)
Mr. Brown: Those are my instructions from the corporate offices Acelea sunt instruc?iunile mele de la sediul corpora?iei,
to put you through this seminar, for the comments that you made, Pentru a te face s? iei parte la acest seminar, pentru comentariile pe care le-ai f?cut,
and the only reason why I made copies for everyone was that you wouldn’t be embarrassed. Iar singurul motiv pentru care am f?cut copii pentru toat? lumea a fost ca tu s? nu te sim?i jignit.

Michael: Well here I am, thinking that you actually cared about diversity training, Ei bine, m? aflu aici, crezând c? ?i-a p?sat de formarea privind diversitatea
And… you don’t. ?i… nu î?i pas?.
Mr. Brown: Don’t worry about dating. Nu-?i face griji cu privire la dat?.
Michael: I won’t. Nu-mi fac.
Mr.Brown: Ok, thank you.

Michael: Yep. (Mr. Brown leaves the office) Ok, mul?umesc.

Dap. (Dl. Brown p?r?se?te biroul)
Michael (Reading the paper got from Mr.Brown): I regret my actions, I regret
offending my co-workers. Michael (Citind hârtia primit? de la Dl.Brown): Îmi regret ac?iunile, regret c? mi-am jignit colegii.

I pledge to bring my best spirit of honesty,
empathy, respect and open-mindedness, open-mindedness is that even a word? Promit s? dau dovad? de onestitate, empatie, respect ?i lips? de prejudec??i, ?sta este m?car un cuvânt?
Into the workplace, in this way I can truly be a hero. la locul de munc?, în felul ?sta pot într-adev?r s? fiu un erou.

Signed, Daffy Duck. (Starts laughing) Semnat, Daffy Duck. (Începe s? râd?)
He’s gonna lose it when he reads that. O s?-?i piard? cump?tul când o s? citeasc? asta.

Jim (Trying to call back): Hi, is Mr. Decker around? (Pam is playing Solitaire again) Jim (Încercând s? sune înapoi): Bun?, Dl. Decker este în zon?? (Pam se joac? din nou Solitaire)
Oh well, could you just have him call me after lunch? Thank you. Oh, îi po?i spune s? m? sune dup? prânz? Mul?umesc.
Michael (Comes out of his office while reading the paper louder and louder in front of all his employees): I pledge to always keep an open mind and an open heart. (He tears out the sheet of paper and throws the pieces on the floor) Michael (Ias? din birou în timp ce cite?te, din ce în ce mai tare, hârtia în fa?a tuturor angaja?ilor): Promit s? am întotdeuna o minte deschis? ?i o inim? deschis?. (Rupe bucata de hârtie ?i arunc? buc??ile pe podea)
I do believe in that part of the pledge that I just read. Cred în acea parte din jur?mântul pe care tocmai l-am citit.

But a pledge, come on, who are we? The girls scouts? No. Dar un jur?mânt, haide?i, cine suntem? Fetele cerceta?e? Nu.
Look, the, the guy Mister Brown, he got us half way there, he got us talking. Privi?i, tipul, dl.Brown, ne-a condus pân? la jum?tatea drumului, ne-a f?cut s? vorbim
(Smiling, sure of himself) Well no, I got us talking. He got us nothing, (Zâmbind, sigur de el) Ei bine, nu, eu ne-am f?cut s? vorbim. El nu ne-a oferit nimic,
he insulted us and he abandoned us. Ne-a insultat ?i ne-a abandonat.
You call that diversity training? I don’t. Numi?i asta formare privind diversitatea? Eu nu.
Were there any connections between any of us? Au existat conexiuni între noi?
Did anyone look each other in the eye, was there any emotion going on? (Pam is open-mouthed) S-a uitat cineva în ochii ceuluilalt, s-a produs vreo emo?ie? (Pam e cu gura c?scat?)
No! Where was the heart, I didn’t see any heart, Nu! Unde era afec?iunea, nu am v?zut nicio afec?iune,
where was my Oprah moment? Unde era momentul meu Oprah?
Ok, get as much done as you can before lunch, because afterward, Bine, face?i cât pute?i de mult pân? la prânz, pentru c? dup?,
I’m going to have you all in tears. am s? v? fac pe to?i s? plânge?i.

(Later that day)
(Michael arranges chairs in the meeting room, Jim keeps calling Mr. Decker)
Michael: All right everybody pretty, come on, here we go, it’s time. Let’s do some good. (Mai târziu în ziua aceea)
(Michael aranjeaz? scaune în sala de ?edin?e, Jim continu? s? îl sune pe Dl.Decker)
Michael: În regul?, toat? lumea, haide?i, a sosit timpul. S? facem ceva de calitate.
Toby: Hey we are not all gonna seat in circle in it so are we? (Everybody is laughing at his joke) Hei, nu o s? st?m cu to?ii în cerc, nu-i a?a? (Toat? râde la gluma lui)
Michael: Get out! (Everybody stops laughing and watches the scene) Ie?i afar?! (Toat? lumea se opre?te din râs ?i prive?te scena)
Toby: I’m sorry. Îmi pare r?u.
Michael: No this is not a joke, ok? Nu, asta nu e o glum?, ok?
It was offensive, and lame, so double offensive. A fost jignitor, ?i jalnic, deci de dou? ori jignitor.
This is an environment of welcoming and
you should just get the hell out of here. (Toby is leaving the room) Acesta este un mediu al bunei primiri ?i tu ar trebui s? pleci naibii de aici. (Toby p?r?se?te sala)
Ok let’s go, let’s do it, come on, let’s have some fun everybody. Ok, toat? lumea, s? pornim, s? o facem, haide?i, s? avem parte de ceva amuzant.

Here we go, take a seat, cop a squat, and thank you for coming in. (Everybody is seating down) Începem, lua?i un loc, ?i mul?umesc c? a?i venit. (Toat? lumea se a?eaz?)
Uhmm… Diversity… is the cornerstone of progress, as I’ve always said. Ummm… Diversitate… este piatra de temelie a progresului, a?a cum am spus întotdeauna.
But don’t take my word for it. Let’s take a look at the tape. Dar nu m? crede?i pe cuvânt. S? privim caseta.

“Hi I’m Michael Scott, I’m in charge of Dundler Mifflin paper products “Bun?, sunt Michael Scott, lucrez pentru produsele din hârtie Dundler Mifflin
here in Scranton, Pennsylvania. Aici în Scranton, Pennsylvania.

But I’m also the founder of diversity tomorrow, Dar sunt ?i fondatorul Diversit??ii de mâine,
because today is almost over. Pentru c? ziua de azi este aproape gata.
Abraham Lincoln once said that “if you’re a racist I will attack you with the North.” Abraham Lincoln spunea odat? c? “dac? e?ti rasist, am s? te atac cu Nordul.”
And those are the principles that I carry with me in the workplace. (Interruption) ?i astea sunt principiile dup? care m? ghidez la locul de munc?. (Întrerupere)
Ok, questions? Comments?
Anybody, Jim? Ok, întreb?ri? Comentarii?
Oricine, Jim?
Jim: Uhh, is that it? Uhh, asta e tot?
Michael: Yes I only had an hour to put it together, but I’m gonna add onto it later on. Da am avut o singur? or? la dispozi?ie pentru a o realiza, dar voi ad?uga pe ea mai târziu.
Kevin: It was kind of hard to hear. Se auzea cam r?u.
Michael: Uh yes that probably has something to do with the camera work. Anybody else? Uh, da, probabil asta are de-a face cu func?ionarea camerei. Altcineva?
Kelly: I have a customer meeting. Am întâlnire cu un client.

Michael: Yeah, well if you leave we’ll only have to… Ei bine, dac? pleci o s? trebuiasc? s?…

Yes, enjoy, absolutely. “Namaste.” Da, bucur?-te, desigur. “Namaste”.

Ok, well, since I am leading this Bine, din moment ce conduc acum
let’s get down to business, and why don’t I, just kind of introduce myself, ok? S? trecem la treab?, ?i de ce s? nu m? prezint, ok?
I am Michael, and I am part English, Irish, German, and Scottish, Eu m? numesc Michael, ?i sunt parte englez, irlandez, german ?i sco?ian,
sort of a virtual United Nations. Un fel de ONU virtual.

But what some of you might not know, is that I am also part native American Indian. Dar ceea ce unii dintre voi s-ar putea s? nu ?tie, este c? sunt ?i nativ Indian American.

Oscar: What part, native American? Care parte, American nativ?
Michael: 2/15th 2/15
Oscar: Two Fift…That fraction doesn’t make any sense. Doi din cinci….Frac?ia asta nu are niciun sens.

Michael: Well, you know what it’s kinda hard for me to talk about it. It’s suffering. Ei bine, ?tii, este cam greu pentru mine s? vorbesc despre asta. Este dureros.
So who else? Let’s get it popping, come on. Whose gone? Deci cine altcineva? S?-i d?m drumul, haide?i. Cine urmeaz??
(Dwight raises his hand) Let’s go here, Oscar, right here, you’re on! (Dwight ridic? mâna) S? începem, Oscar, chiar aici, e rândul t?u!
Oscar: Ok Michael, both my parents were born in Mexico Ok, Michael, p?rin?ii mei s-au n?scut în Mexic,
and they moved to the United States a year before I was born, s-au mutat în Statele Unite cu un an înainte ca eu s? m? nasc,
so I grew up in the United States and my parents were Mexicans. a?a c? am crescut în Statele Unite, iar p?rin?ii mei erau Mexicani.
Michael: That is a great story, that’s the American dream right there, right? Este o poveste minunat?, acesta e visul american, nu-i a?a?
Oscar: Thank you, yeah… Mul?umesc, da..

Michael (He is frowning): Let me ask you, is there a term besides Mexican, that you prefer? Michael (Se încrunt?): Las?-m? s? te întreb, preferi alt termen în afar? de mexican?
Something less offensive? Ceva mai pu?in jignitor?
Oscar: Mexican isn’t offensive! Mexican nu este jignitor!
Michael: Well it has certain connotations. Ei bine, are anumite conota?ii.

Oscar: Like what? Precum?
Michael (Confused) Like… I don’t know.. Michael (Confuz): Ca… Nu ?tiu..

Oscar: What connotations, Michael? Ce conota?ii, Michael?
Michael: No…no, there are no… Nu, nu… nu sunt…

Oscar: It must have been something… Trebuie s? fi fost ceva..

Michael: No, remember.. Nu, aminte?te-?i..

Oscar: I’m just curious. Sunt doar curios.

Michael: Honesty, Empathy, Respect, Onestitate, Respect, Empatie,
(The phone starts to ring again, Jim leaves the meeting room in order to answer) (Telefonul începe s? sune din nou, Jim p?r?se?te sala de ?edin?e pentru a r?spunde)
Michael: Jim? Jim? Jim? Jim?
Jim: Hello? Hello? (Dissappointed, he hangs up) Alo? Alo? (Dezam?git, închide)
Michael: I have something here, I want you to take a card Am ceva aici, vreau s? lua?i câte un bilet
put it on you fore… don’t look at the card ! S? îl pune?i pe fru… nu te uita la bilet!
I want you to take the card, I want you to put it on you forehead and… Vreau s? lua?i biletul, s? vi-l pune?i pe frunte ?i…

take a card, any card Ia un bilet, orice bilet
and I want you to treat other people like the race ?i vreau s? îi trata?i pe ceilal?i în func?ie de rasa
that is on their forehead. So everybody has a different race (Kevin is Asian, Pam is Jewish, Angela is Jamaican, Stanley is Black) Care este trecut? pe fruntea lor. Deci fiecare are o ras? diferit? (Kevin este Asiatic, Pam este Evreic?, Angela este Jamaican?, Stanley este Negru)
nobody knows what their race is, so Nimeni nu ?tie care este rasa sa, deci
I want you to really go for it, cause this is real Vreau s? v? implica?i cu adev?rat, pentru c? asta este real
you know this isn’t just an exercise, this is real life and (Michael’s card says he is Martin Luther King Jr.) ?ti?i, nu este doar un exerci?iu, asta este via?a adev?rat? ?i (Biletul lui Michael spune c? el este Martin Luther King Jr.)
I have a dream that you all really let this sparks fly. Am un vis c? voi chiar ve?i face s? ias? scântei.
Get it done! Termin?-l!
Michael (Outside the meeting room): Why? Because Martin Luther King is a hero of mine. Michael (În afara s?lii de conferin?e): De ce? Pentru c? Martin Luther King este un erou de-al meu.
There’s this great Chris Rock bit about how streets named after Martin Luther King tend to be more violent. Exist? subiectul ?sta de tip Chris Rock, cum c? pe str?zile numite dup? Martin Luther King se tinde s? fie mai mult? violen??.
I’m not gonna do it but it’s… Nu voi face asta, dar este….

Michael (Leading the discussion between Pam and Stainley and reading their cards): Oh, this is a good one. Michael (Conducând discu?ia dintre Pam ?i Stainley ?i citindu-le biletele): Oh, asta e bun?.

Pam: Hum, hi how are you? Bun?, ce mai faci?
Stanley: Fine, how are you? Bine, tu ce faci?
Michael: Push it, push it. For?eaz?, for?eaz?.
Pam: Great. Grozav.

Stainley: I admire your culture success in America. Admir succesul culturii tale în America.
Pam: Thank you. Mul?umesc.

Michael: Come on! Olympics of sufferings right here, Slavery versus Holocaust, come on! Haide?i! Olimpicii suferin?ei, sclavia versus holocaustul, haide?i!
Stainley: Who am I supposed to be? (He is reading his card) Cine ar trebui s? fiu? (Î?i cite?te biletul)
Michael: No, no, It’s called role play… Nu, nu, se nume?te jucarea rolului…

(After Stainely saw his card) well, that was an invert, and we didn’t actually plan that. (Dup? ce Stainely ?i-a v?zut biletul) ei bine, asta a fost o inversare, ?i de fapt nu am pl?nuit asta.

Dwight (Asian): Lots of cultures eat rice, that doesn’t help me. Dwight (Asiatic): Multe culturi m?nânc? orez, asta nu m? ajut?.
Shalom (Peace), I’d like to apply for a loan. Shalom (Pace), a? vrea s? cer un împrumut.
Pam (Jewish): That’s nice, Dwight. Pam (Evreic?): Dr?gu?, Dwight.
Dwight: OK, do me. Something stereotypical so I can get it really quick. Ok, încearc?-m?. Ceva stereotipic ca s? m? prind foarte repede.
Pam: OK, I like your food. Ok, îmi place mâncarea ta.

Dwight: Uh, Outback Steakhouse, I’m Australian, mate! Uh… Outback Steakhouse, sunt australian, colega!
Pam: No… Nu…

Michael: Pam, come on, “I like your food?” Pam, haide, “Îmi place mâncarea ta?”
No, come on, stir the pot. Stir the melting pot, Pam! Nu, haide, complic? lucrurile. Joac?-te cu focul, Pam!
Let’s do it, let’s get ugly, let’s get real. S? o facem, s? fie urât, s? fie real.

Pam: OK, if I have to do this, based on stereotypes that are totally untrue, that I do not agree with, Ok, dac? trebuie s? fac asta, pe baza stereotipurilor care sunt complet false, cu care nu sunt de acord,
you would maybe not be a very good driver. s-ar putea s? nu fii un ?ofer foarte bun.

Dwight: Aw man, am I a woman? Ooo, omule.. sunt o femeie?
Michael: You’ll notice, I didn’t have anybody be an Arab. Ve?i observa, nu am avut pe nimeni care s? fie arab.

I thought that would be too explosive, uh, no pun intended. Am crezut c? ar fi prea exploziv, uh, f?r? nicio aluzie.

But I just thought, “too soon” for Arabs. Dar m-am gândit, “prea repede” pentru arabi.

Maybe next year. You know, the ball’s in their court. Poate anul urm?tor. ?tii, mingea e în terenul lor.
Jim: What’s you’re watching? La ce te ui?i?
Ryan (Sitting on the Pam’s place): Chappelle show. Ryan (Stând în locul lui Pam): Chappelle show.

Jim: Really? Serios?
Ryan: Yeah, I downloaded it on her computer, Da, l-am desc?rcat pe calculatorul ei,
I hope she doesn’t mind, she has a lot of extra space. Sper s? nu se supere, are o gr?mad? se spa?iu liber.
Jim: No way! I think she really likes this stuff În niciun caz! Cred c? ei chiar îi plac astfel de lucruri.
Ryan: she’s cute, hein? Este dr?gu??, nu-i a?a?
Jim: Yeah, she’s engaged but.. Da, este logodit?, dar..

Ryan: oh, no, the girl on the… sketch Oh, no, fata din… scenet?
Jim: oh, yeah, she’s hot Oh, da, este atr?g?toare.

Kevin (Italian): Hey.. Kevin (Italian) Hei..

Angela (Jamaican): Hey.. Angela (Jamaican?) Hei..

Kevin: You wanna go to the beach? Vrei s? mergi la plaj??
Angela: Sure. Sigur.

Kevin: You wanna get high? Vrei s? te droghezi?
Angela: No. Nu.

I think you do, Mon. Cred c? vrei, Mon.

Angela: Stop it. Opre?te-te.

Michael: All right, no… you just.. you need to push it, you know you could go a little bit further. În regul?, nu… doar s?.. trebuie s? for?ezi, ?tii, ai putea s? mergi un pic mai departe.

(Looking around) All right, ok. (Imitating Kelly’s Indian accent)
Kelly, how are you? (Uitându-se în jur) În regul?, ok. (Imitând accentul indian al lui Kelly)
Kelly, ce mai faci?
Kelly (Smiling): I’ve had one of the longest meeting I’ve ever.. Kelly (Zâmbind): Am avut una dintre cele mai lungi întâlniri vreodat?…

Michael: Ohhh… Welcome to my convenient store. Would you like some gookie cookie? Ohhh… Bine ai venit în magazinul meu convenabil. ?i-ar pl?cea ni?te fursecuri?
I have some very delicious gookie cookie, only 99 cents plus taxes… Am ni?te fursecuri foarte delicioase, doar 99 cen?i plus taxe …

try my gookie cookie, try my gookie cookie, try my gookie cookie, try my… (Kelly snaps him and leaves the room) (Everybody is silent) Încearc? fursecurile mele, Încearc? fursecurile mele, Încearc? fursecurile mele, Încearc?-mi… (Kelly îl plesne?te ?i p?r?se?te sala)
(Toat? lumea este t?cut?)
Michael: All right, all right, yes… În regul?, în regul?, da…

That was great, she gets it. Now she knows what it’s like to be a minority. (Silence) A fost minunat, a prins ideea. Acum ?tie cum e s? fii o minoritate. (Lini?te)
Jim: Mr. Decker, we didn’t lose your sell today, do we? Excellent, ok.. Domnule Decker, nu v-am pierdut vânzarea ast?zi, nu-i a?a? Excelent, ok…
Let me just get your… what’s that? L?sa?i-m? s? v? iau… ce anume?
No, we didn’t close last time… Nu, nu am închis ultima dat?…

I just need your… Am nevoie doar de….

Oh, what code were you given? Oh, ce cod vi s-a dat?
Oh, ok… Oh, ok…
Yeah, no that’s actually another salesman here, yeah, I can re-do it if you want to do that. Da, de fapt aici se afl? un alt angrosist, da, pot s? o refac, dac? dori?i s? fac asta…

Oh, he gave you discount? No, I don’t blame you. (He takes out the bottle of champagne from his drawer and puts it on Dwight’s desk) Oh, v-a oferit discount? Nu, nu v? condamn. (Î?i scoate sticla de ?ampanie din sertar ?i o a?eaz? pe biroul lui Dwight)
Michael: I just hated it when that guy was in here, Mr. Brown? If that was his real name!? (Jim enters the meeting room and sits down) Michael: L-am urât pe tipul ?la când a fost aici, Dl.Brown? Dac? ?sta era numele lui adev?rat!? (Jim intr? în sal? ?i se a?eaz?)
I mean, he had never met any of us before,
and here he was telling us how to do our things.. Adic?, nu s-a mai întâlnit vreodat? cu niciunul dintre noi, ?i a venit aici s? ne spun? cum s? ne facem treaba…

I just wanted to do it our way, you know? On our own. Voiam doar s? o facem în felul nostru, ?tii? Pe cont propriu.

Man, I should have gotten some food… Omule, trebuia s? fi luat ni?te mâncare…

Kevin (Singing): Maybe some spaghetti… Kevin (Cântând): Poate ni?te spaghete…

Michael: ok, Kevin you can take off that thing, ok? Ok, Kevin, po?i s? î?i dai aia jos, bine?
That would have really, really showed him up, wouldn’t it? (Pam is falling asleep on Jim’s shoulder and he starts smiling) Asta chiar l-ar fi pus la punct, nu-i a?a? (Pam adoarme pe um?rul lui Jim, iar el începe s? zâmbeasc?)
I would have brought some burritos, or some colored greens, or some pad thai, I love pad thai A? fi adus ni?te burrito, sau ni?te verde?uri, sau ni?te pad thai, iubesc pad thai-ul.

Stainley: It’s “collard” greens. Se nume?te varz? furajer?.

Michael: What? Ce?
Stainley: It’s “collard” greens. Se nume?te varz? furajer?.

Michael: It doesn’t really make sense, cause you don’t call it color people Nu prea are sens, pentru c? nu spui oameni de culoare
that’s offensive. (Stainley is rolling his eyes) asta este jignitor. (Stainley î?i d? ochii peste cap)
Ok, well, it’s after five, so thank you very much. Ok, ei bine, este trecut de cinci, deci v? mul?umesc foarte mult.

Buena vista Hoscar, thank you.. O zi bun?, Hoscar, mul?umesc…

Good job, oh my man! (He taps Stainley on the shoulder) Bun? treab?, oh, omul meu! (Îl bate pe Stainley pe um?r)
Thank you, Brazil. Nice… Mul?umesc, Brazilia. Frumos…

(Only Pam and Jim are still in the meeting room and Jim is trying to wake her up) (Doar Pam ?i Jim se mai afl? în sala de ?edin?e, iar Jim încearc? s? o trezeasc?)
Jim: Hey, we can go (They both start smiling) Hei, putem s? plec?m (Amândoi încep s? zâmbeasc?)
(Pam is standing up and leaving the room) (Pam se ridic? ?i p?r?se?te sala)
(Smily face) Uh…. not a bad day! (Fa?? zâmbitoare) Uh… nu a fost o zi rea!
As we have already affirmed, a discussion about both British and American sitcoms will take place within the Chapter III. Let us start with the translation strategies that have been utilised, then proceeding to analyse the types of humour, the jokes and the characters’ attitudes in these two worldwide known sitcoms.
Regarding the strategies that have been used, we have decided to mention at the beginning of each long or short scene(s) the members that are involved or the place where the scene(s) take(s) place. Thus, the reader may understand and imagine the characters, what they do and where they are. Moreover, the stage directions that have been provided also carry reactions to what somebody else said, or even the type of voice one may have used when he/she saluted the others. For example, “Ross: (With a sad and low voice) Hi….” Thus, readers who may have not seen the season or the episode, may become familiar with a character’s personality or temperament. Let us take into consideration this example: “Michael: Exactly. We’re not colorblinds. (Talking again over Mr. Brown).” However, activities done by other(s) while one is talking are fundamental to be identified by readers so that he/she may perceive the complete joke. In subtitling humour, we realize that humour may be created even through attitudes, reactions, other people’s activities. Let us notice the discussion between Monica and Paul when they were at the restaurant: “Paul: Well, er, uh… Ever since she left me……I haven’t been able to perform… (Monica is drinking from a cup) …sexually. (Hearing this, she accidentally spits the drink on him).” Even though one who may have seen a sitcom for several times, only when he/she subtitles and then translates it, will he/she understand many more acts, situations or concepts.
Now, let us proceed to those two types of humour that characterize the American or the British culture, as well as their societies. First of all, the titles of the both sitcoms describe them to the largest extent. On the one hand, the American sitcom Friends is definitely about friendship, tolerance, advice and support, the fact that knowing someone very well, you start feeling comfortable to take the mick out of him/her, though without offending that person, to take part in his/her most meaningful and memorable moments of his/her life. A sitcom with a tremendous impact over its characters, as they also hang out, laugh, discuss, talk about personal anguishes, but some of them may end up being together, not only throughout this sitcom, but in their real life, as well. On the other hand, even though the British sitcom The Office is more oriented towards emphasizing the fundamental activities in order to manage a company, so that it may develop and succeed, there still are affective relationships, such as what Jim, the office “funny-guy” feels for Pam, “the uncomfortable receptionist” who is engaged. Though, everybody’s relation is much more distant, they are more arrogant and ironic with each other. Dwight is the best example of the person who does whatever is necessary in order to survive in the company. Despite the fact that nobody loves Michael, Dwight is the only one who agrees with him or takes notes to what he says.
Second of all, it is acknowledged that the American culture is different than the British one even regarding the way people are educated or trained for life. The sitcom Friends succeeds in inspiring its fans through Rachel’s story. She has always been daddy’s spoilt girl who got everything she wanted. However, her marriage has ended up before it even started and she has no job, depending on her parents. However, she finds Monica and her friends who support and encourage her to move on, find a job and to be independent. She learns an important life lesson, the fact that she can take her way and do it on her own. Even though her first job was of waitress, she finally succeeds in evolving professionally and doing something that she loves. All of this could be a sequence of what The American Dream could represent.
On the other side of the Atlantic, things are entirely different. In The Office, there is only one person who is allowed to make jokes and that is Michael Scott, the regional manager. His jokes always end up in offending his co-workers, his humour is mischievous, sometimes meaningless, and he is used to swear and talk louder than anyone else. In the context created by himself: “You know what? This is a color free zone here,” he addresses to Stainley: “Stanley, I don’t look at you as another race” (Stanley, being black, lifts up his eyebrow and lets his head down). Moreover, he is so ignorant that one may say his ignorance is funny, as he created all those cards with different races such as Jewish, Jamaican, Asian or Black (and the latter accidentally ended up being on Stainley’s forehead). We may say that he succeeded in describing himself through one single animated character when he undersigned as Daffy Duck. Nevertheless, his incapacity of joking, his ignorance and self-assurance creates hilarious situations.
We feel obliged to disagree with Michael’s idea “I want you to treat other people like the race that is on their forehead” as this is exactly what everybody shall stop doing: perceive or treat others as of another or different race, stop noticing and taking into consideration the inequalities, but simply accepting them and highlighting the connections. Michael behaves as an imature child, who does not know when to stop talking, what should not say, how to talk to his co-workers, thus creating many entartaining circumstances.
In conclusion, this chapter has started discussing about the definition of subtitling as well as its implications and challenges. In order to better understand what the process of subtitling means, we have selected two worldwide beloved sitcoms: Friends and The Office. Both provide us with helpful examples, information, so that those who may want to watch the sitcoms learn useful details and features about the world in which we live, and be aware of the fact that even though Rachel, Chandler Or Michael are only film characters, they have their own personalities, attitudes and beliefs and we are the ones who choose whether and which ones should we undertake in order to cultivate ourselves, strengthen our personal confidence, develop from an individual point of view, even intellectually, emotionally and spiritually.