1. This post contains spoilers for Eddie Izzard's Stripped. If you're going to see it live and you haven't been spoiled yet, I strongly recommend skipping this post until you see it. (Specifically, this post dissects the bit with the giraffes. If this isn't yet meaningful to you, skip it.) Reading my translation strategies isn't worth missing out on discovering this particular piece of material live.
2. This post does not contain solutions, only strategies. The strategies could be used by a talented native speaker of the target language to translate the material, but I'm not nearly talented enough to translate untranslatable comedy away from my mother tongue.
3. Some creators don't like fans to give them ideas for fear of later lawsuits. So I am explicitly stating that this idea is free for the taking. I doubt you can claim ownership on a mere strategy anyway, but regardless. The original material belongs to Eddie Izzard, this translation strategy is free for anyone to use. If I get wind that it has been used, I will simply be flattered.
This is the scene I'm talking about:
First issue: Does the target culture have charades?
Will the audience recognize what Eddie's doing when he's charading? If so, you're fine and can carry on to the next step. (Just check whether charades is played exactly the same in the target culture, i.e. are the ways of indicating syllables and the nose-touchy "you're right!" sign the same?) If not, that needs to be addressed before we go any further. There are two possible approaches here:
a) Find another suitable game. It needs to be a word guessing game that is played silently, it needs to be recognizable when performed/mimed on stage without props, and, to retain the core humour of the piece, it needs to be somewhat dependent on the verbal characteristics of the words. The piece draws its humour from the fact that mute animals can still recognize homophones and put together syllables to create words. In terms of pure translation, it would be perfectly valid to use a word guessing game that isn't dependent on the verbal characteristics of the words, but that would be far less effective as a piece of humour. So if you're doing this for class, you can totally go for a game that doesn't depend on verbal characteristics and get a solid B- (or maybe a B+ if the prof gives you credit for tackling something untranslatable). But if you're actually adapting it for the stage, don't go there. Better to leave it out of the show all together than to eliminate the crux of the humour.
b) The most awesome callback ever. Introduce new material early in the set that, as part of a broader gag or story, explains the English game of charades, complete with demonstrations, so the audience has a solid grounding in how the game is played. Then, in the second half of the show, bring out the giraffes. This is incredibly difficult and beyond the scope of translation, and it would be impossible to implement in a traditional translator-client relationship. ("Okay, I've got your translation all ready, I just need you to write five minutes of brand new material that meets these very specific requirements.") But if it could be carried off, it might be the greatest callback in human history.
Second issue: Replace the tiger
The tiger is a tiger in the first place because it's charadable. It doesn't need to be a tiger. It could be any animal, or indeed anything that would present a threat to a giraffe. (Lions, jaguars, hunters, alien abductions, Voldemort...) While the tiger was originally a cop-out in that tigers and giraffes don't co-exist in the wild, there is some humour to be gained from the fact that it is a cop-out. When Eddie performs it at least, the fact of admitting to a cop-out is charming, and there's a laugh or two in speculating just how and why the tigers are in Africa.
So the tiger's replacement needs to have the following characteristics.
a) Be charadable - in the target language. This is obviously the most important factor, because without something to charade the material wouldn't exist. You can't use the tiger charade used in the English version of Stripped because "cravate-grr" doesn't mean anything in any language. You need a target-language word where each syllable has a charadable homophone in the target language.
b) Be something giraffes would need to talk about. Humour could be gained in explaining how something that isn't at first glance a threat to a giraffe is in fact a threat. (If the justification of the threat is kind of half-assed, it could be introduced earlier in the show - perhaps on Noah's Ark - and gain additional humour by being a callback.) Alternatively, it doesn't necessarily need to be a threat that the giraffes announce to each other. It could be food, or a shoe sale, or a celebrity whose autograph they want. If it isn't a threat humour will be lost because the silent scream bit would have to be cut, so it might be useful to introduce additional humour by making the subject of the charades something more surreal than just food. But on the other hand, it's quite possible to overload the surreality. We already have a human performer miming being a giraffe, and then miming being a giraffe performing charades. It's possible that adding something too surreal to all this - like the giraffes have an Elvis sighting or something - might take it too far and lose the audience. I don't have the skill to tell when sitting behind my computer. As a translator, my ideal approach would be to present options - say yummy trees, and an ice cream truck, and a Sith lord, and an Elvis sighting - and let the performer use their professional judgement.
c) Be two syllables long. One syllable isn't quite charades, it's just mime. The humour comes from mute animals recognizing homophones and combining syllables to form words, so you'd lose a lot of that with just one syllable. But there's also the audience's attention span to take into account. A purely visual bit like this requires more audience attention than a verbal bit, because they can't look away from the stage even for a second. (If you've ever taken a sign-language class taught solely in sign language, you'll know how hard this is.) They have to accept the charading giraffes, retain memory of each syllable, put the word together without verbal repetition, and accept that the giraffes are putting the word together through mime rather than through verbal repetition. That's a lot of commitment, and if you lose even a bit of the commitment you crash and burn. Monty Python's "Call the next defend-ANT" bit works because they're constantly repeating the previously guessed syllables out loud, but you can see why it would never work silently. Three syllables might work, maybe, but it's really better to focus your efforts on finding a suitable two-syllable word. In other words, even if you have the most perfect charade ever for Eyjafjallajökull, this isn't the place to use it.
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