A template for the audio introduction of operas: A proposal
Main Article Content
Abstract
Audio Introductions (AI) consist of a brief description of the plot, history and technical aspects of an audiovisual product and are generally presented at the beginning of an operatic event. Despite their prevalence, literature related to the elaboration of AI in audio description (AD) guidelines is scarce. Continuing the investigation carried out by the research group Transmedia Catalonia in the field of AD for opera, this article focuses on the role of AI in opera, not only as an access service for the blind and visually impaired audience, but also for all audience members.
Furthermore, a template for AIs is put forward, in which the contents that AIs should cover for the appropriate presentation of the information relevant to the opera are detailed and explained. The article delves into these contents and underscores their importance for enhancing the experience of the opera for both the visually impaired and the general audience. The creation and distribution of a template draws attention to the potential of standardisation of this access service.
The article is based on the analysis of a template used at the Gran Teatre del Liceu of Barcelona by the audio describer, also a co-author of the article, employed in the production of AIs throughout the opera season 2016/17. The creation of AIs by means of the template improved the work flow by providing a clear understanding of the topics to be covered beforehand and by outlining the time constraints during the live performance on the contents.
Downloads
Article Details
Authors who publish with this journal agree to the following terms:
1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).References
AENOR. (2005). Audiodescripción para personas con discapacidad visual. Requisitos para la audiodescripción y elaboración de audioguías (UNE 153020:2005). Retrieved from https://www.aenor.es/aenor/normas/normas/fichanorma.asp?codigo=N0032787#.WQsnY1P5iqA
Benecke, B., & Dosch, E. (2004). Wenn aus Bildern Worte werden. Durch Audio-Description zum Hörfilm. Munich: Bayerischer Rundfunk.
Braun, S. (2008). Audiodescription Research: State of the Art and Beyond. Translation Studies in the New Millennium, 6, 14–30. Retrieved from http://scholar.google.com/scholar?hl=de&q=sabine+braun+audio+description&btnG=Suche&lr=&as_ylo=&as_vis=0#6
Burton, J. (2008). The Joy of Opera: The Art and Craft of Opera Subtitling and Surtitling. In The Changing Face of Translation.’ Proceedings of the 8th Portsmouth Translation Conference 2008: "The Changing Face of Translation (pp. 28–34). Portsmouth: University of Portsmouth. Retrieved from http://www.port.ac.uk/media/contacts-and-departments/slas/events/tr08-burton.pdf
Cabeza, C. (2010). Opera audio description at Barcelona’s Liceu theatre. In J. Díaz-Cintas, A. Matamala, & J. Neves (Eds.), New Insights into Audiovisual Translaiton and Media Accessibility (pp. 227–238). Amsterdam: Rodopi.
Cabeza, C., & Matamala, A. (2008). La audiodescripción de ópera: una nueva propuesta. In Á. Pérez-Ugena & R. Vizcaíno-Laorga (Eds.), Ulises y la comunidad sorda (pp. 95–108). San Lorenzo del Escorial: Observatorio de las Realidades Sociales y de la Comunicación.
Cabeza i Cáceres, C. (2010). Opera audio description at Barcelona’s Liceu theatre. In J. Díaz Cintas, A. Matamala, & J. Neves (Eds.), New Insights into Audiovisual Translation and Media Accessibility (pp. 227–237). Amsterdam: Rodopi.
Corral, A., & Lladó, R. (2011). Opera Multimodal Translation: Audio Describing Karol Szymanowski’s Król Roger for the Liceu Theatre, Barcelona. The Journal of Specialised Translation, (15), 163–179. Retrieved from http://scholar.google.com/scholar?q=related:WUzz04RKQg8J:scholar.google.com/&hl=en&num=30&as_sdt=0,5
Di Giovanni, E. (2014). Audio introduction meets audio description: an Italian experiment. In R. M. Bollettieri Bosinelli, E. Di Giovanni, & L. Rossato (Eds.), inTRAlinea Special Issue: Across Screens Across Boundaries. Retrieved from http://www.intralinea.org/specials/article/2072
Díaz Cintas, J., & Anderman, G. (2009). The Wealth and Scope of Audiovisual Translation. In J. Díaz Cintas & G. Anderman (Eds.), Audiovisual Translation: Language Transfer on Screen (pp. 1–17). Basingstoke: Pelgrave Macmillan.
Eardley-Weaver, S. (2014). Lifting the Curtain on Opera Translation and and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Durham University. Retrieved from http://etheses.dur.ac.uk/10590/
Fryer, L. (2010). Focusing attention: an experimental exploration of the relationship between sight loss and mental imagery (Unpublished PhD Thesis). University of London.
Fryer, L. (2016). An Introduction to Audio Description: A practical guide. London and New York: Routledge.
Fryer, L., & Freeman, J. (2013). Visual impairment and presence. In H. Witchel (Ed.), Proceedings of the 2013 Inputs-Outputs Conference on An Interdisciplinary Conference on Engagement in HCI and Performance - Inputs-Outputs ’13 (pp. 1–5). New York, New York, USA: ACM Press. doi: 10.1145/2557595.2557599
Griesel, Y. (2005). Surtitles and Translation: Towards an Integrative View of Theater Translation. MuTra 2005: Challenges of Multidimensional Translation, 62–75. Retrieved from http://translationconcepts.org/pdf/MuTra_2005_Proceedings.pdf#page=66
Hammer, P., Mälzer, N., & Wünsche, M. (2015). Audioeinführungen als Zusatzangebot zu Audiodeskriptionen? Trans-Kom, 8(1), 164–178. Retrieved from https://www.google.es/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&ved=0ahUKEwiJpbnp_NXTAhVCPxQKHWqbCKQQFggmMAA&url=http%3A%2F%2Fwww.trans-kom.eu%2Fbd08nr01%2Ftrans-kom_08_01_08_Hammer_Maelzer_Wuensche_Audioeinfuehrung.20150717.pdf&usg=AFQjCNGkr2YpZz-BA__3hLs
Igareda, P., & Matamala, A. (2012). Variations on the Pear Tree experiment: different variables, new results? Perspectives, 20(1), 103–123. https://doi.org/10.1080/0907676X.2011.632684
Independent Television Commission (ITC). (2000). Guidance on Standards for Audio Description. Retrieved from http://stakeholders.ofcom.org.uk/broadcasting/guidance/other-guidance/tv_access_serv/archive/audio_description_stnds/
International Organization for Standardization, & International Electrotechnical Commission. (2015). Information technology - User interface component accessibility - Part 21: Guidance on audio descriptions (ISO/IEC TS 20071-21). Retrieved from https://www.iso.org/obp/ui/fr/#iso:std:iso-iec:ts:20071:-21:ed-1:v1:en
Jankowska, A. (2013). Taking a British idea to Poland: Audio introductions for voiced-over films. In 4th Advanced Research Seminar on Audio Description (ARSAD) (13-14 March). Barcelona.
Kruger, J.-L., & Orero, P. (2010). Audio description, audio narration – a new era in AVT. Perspectives, 18(3), 141–142. doi: 10.1080/0907676X.2010.487664
Matamala, A. (2005). Live audio description in Catalonia. Translating Today, 4(July), 9–11. Retrieved from https://www.researchgate.net/publication/283255751_Live_Audio_Description_in_Catalonia
Matamala, A. (2007). La audiodescripción en directo. In C. Jiménez Hurtado (Ed.), Traducción y accesibilidad: subtitulación para sordos y la audiodescripción para ciegos (pp. 121–132). Frankfurt am Main: Peter Lang.
Matamala, A., & Orero, P. (2007). Accessible opera in Catalan: opera for all. In J. Díaz-Cintas, A. Remael, & P. Orero (Eds.), Media for all: subtitling for the deaf, audio description, and sign language (pp. 201–214). Amsterdam: Rodopi.
Mateo, M. (2007). Surtitling today: New uses, attitudes and developments. Linguistica Antverpiensia, New Series – Themes in Translation Studies, 6, 135–154. Retrieved from https://lans-tts.uantwerpen.be/index.php/LANS-TTS/article/view/184
Orero, P. (2007a). Audiosubtitling: a possible solution for opera accessibility in Catalonia. Tradterm, 13, 135. doi: 10.11606/issn.2317-9511.tradterm.2007.47470
Orero, P. (2007b). Sampling audio description in Europe. In J. Díaz Cintas, P. Orero, & A. Remael (Eds.), Media for all: subtitling for the deaf, audio description, and sign language (pp. 111–125). Amsterdam, New York: Rodopi.
Orero, P., Bestard, J., Edo, M., Iturregui-Gallardo, G., Matamala, A., & Permuy Hércules de Solás, I. C. (n.d.). Opera accessibility in the 21st century: new services, new possibilities (1).
Orero, P., & Matamala, A. (2007). Accessible Opera: Overcoming Linguistic and Sensorial Barriers. Perspectives, 15(4), 262–277. doi: 10.1080/13670050802326766
Palmer, J. (2013). Surtitling opera: a surtitler’s perspective on making and breaking the rules. In Music, Text and Translation (pp. 21–34). London and New York: Bloomsbury Academic.
Puigdomènech, L., Matamala, A., & Orero, P. (2008). The making of a protocol for opera audio description. Actas Del III Congreso Internacional de La Asociación Ibérica de Estudios de Traducción e Interpretación. La Traducción Del Futuro: Mediación Lingüístca y Cultural En El Siglo XXI. Barcelona 22-24 de Marzo de 2007, 381–392.
Pujol, J., & Orero, P. (2007). Audio description precursors: Ekphrasis, film narrators and radio journalists. Translation Watch Quarterly, 3(2), 49–60. Retrieved from http://centresderecerca.uab.cat/caiac/content/audio-description-precursors-ekphrasis-film-narrators-and-radio-journalists
Pylyshyn, Z. (2002). Mental imagery: in search of a theory. The Behavioral and Brain Sciences, 25(2), 157-82; discussion 182-237. doi: 10.1017/S0140525X02000043
Ramos Caro, M. (2016). La traducción de los sentidos. Munich: LINCOM GmbH.
Remael, A., & Reviers, N. (2013). Combining introductions and Audio Description in Theatre. In 4th Advanced Research Seminar on Audio Description (ARSAD) (13-14 March). Barcelona.
Remael, A., Reviers, N., & Vercauteren, G. (2014). ADLAB Audio Description guidelines. European Union under the Lifelong Learning Programme (LLP).
Reviers, N. (2014). Audio Introductions. In A. Remael, N. Reviers, & G. Vercauteren (Eds.), Pictures Painted in Words, ADLAB Audio Description Guidelines.
Romero-Fresco, P., & Fryer, L. (2014a). Audiointroductions. In A. Matamala, A. Maszerowska, & P. Orero (Eds.), Audio Description: New Perspectives Illustrated (p. 216). John Benjamins Publishing Company. Retrieved from https://books.google.com/books?id=TdjLBAAAQBAJ&pgis=1
Romero-Fresco, P., & Fryer, L. (2014b). Could Audio Described Films benefit from Audio Introductions? An Audience Response Study. Journal of Visual Impairment & Blindness, 107(4), 287–295.
Walczak, A. (2017). Immersion in audio description (Unplublished PhD Thesis). Autonomous University of Barcelona.
Walczak, A., & Fryer, L. (2017). Creative description: The impact of audio description style on presence in visually impaired audiences. British Journal of Visual Impairment, 35(1), 6–17. doi: 10.1177/0264619616661603
Walczak, A., & Fryer, L. (2018). Vocal delivery of audio description by genre: measuring users’ presence. Perspectives, 1–15. doi: 10.1080/0907676X.2017.1298634
Wijnants, J. (2014). Opera Surtitles: a New Text Between Libretto, Score, Translation, and Performance. In M. Cavagna & C. Maeder (Eds.), Philology and Performing Arts: A Challenge (pp. 39–58). Louvain: Presses universitaires de Louvain.
York, G. (2007). Verdi made visible: audio introduction for opera and ballet. In J. Díaz Cintas, P. Orero, & A. Remael (Eds.), Media for all: subtitling for the deaf, audio description, and sign language (pp. 215–230). Amsterdam: Rodopi.