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Captioning, the whole story<br />Lissy Lovett – Programme Manager<br />NITA – Access To Theatre Seminar<br />Grand Opera H...
Agenda<br />Captioning basics<br />The captioning process<br />Photographs<br />Audiences<br />
Captioning Basics<br />
What can you make out from this piece of spoken text?<br />Credit – University of Manchester<br />
What can you make out this time?<br />
Credit – www.makesensedesign.com<br />
Who uses captions?<br />Deaf, deafened and hard of hearing people who wish to access plays in English<br />1 in 7 of popul...
359 people in audience<br />17 people booked for captioning with box office (4% of total audience)<br />103 people returne...
What is captioning?<br />Preparation<br />Captions prepared in advance by a trained captioner<br />Delivery<br />Speech ap...
The captioning process<br />
The captioning process<br />
Formatting<br />
Final formatted captions<br />
Captioning challenges<br />3,500 to 6,000 lines per script<br />Spelling & punctuation<br />Research<br />Checking spellin...
STAGETEXT captioner<br />at Bristol Old Vic<br />Photo: Mike Lusmore<br />The captioned performance<br />
Technical information<br />Unit dimensions:  <br />length 1650mm, height 335mm,  <br />depth 51mm. weight: 18kg <br />
Good Caption Unit position<br />Decide as early as possible <br />	(see above!)<br />Include everyone - lighting, sound, s...
As close to the action as possible
At about actors’ head height</li></li></ul><li>Photographs<br />
Deafened actor Tim Barlow as Tybalt, prior to the captioned performance of Juliet and Her Romeo,  Bristol Old Vic (April 2...
Captioned performance of <br />Les Liaisons Dangereuses<br />New Vic Theatre <br />Photo: Robert Day<br />20<br />
Captioned performance of <br />Little Women<br />Sadler’s Wells<br />21<br />
Captioned performance of Aladdin, The Wok ‘n’ Roll Panto<br />New Wolsey, Ipswich.  Photo: Mike Kwasniak <br />22<br />
Transcribed post-show discussion following a captioned performance of <br />Yellowman<br />Hampstead Theatre<br />23<br />
Warm-up prior to the captioned performance of Life is a Dream<br />Donmar Warehouse<br />Photo: Matt Humphrey <br />24<br />
Captioned performance of Miss Saigon at the Bristol Hippodrome<br />Captioned performance of Miss Saigon at the Bristol Hi...
Captioned performance of <br />Hansel and Gretel<br />Northern Stage<br />Photo: Linda Borthwick<br />26<br />
Gwion Wyn Jones in Oliver!  With kind permission of Cameron Mackintosh Limited. <br />Photo: Simon Annand<br />
Audiences<br />
Start with your existing audience<br />Tell your audience about your access!<br />Send letters/emails to subscribers expla...
Encouraging new audiences<br />Discover Theatre days<br />Added value – accessible post-show talks<br />
Printed Marketing Materials<br />Season brochure<br />Covering letter<br />Access guide to your venue<br />Local newspaper...
Close up of accessibility box<br />Live Theatre’s poster campaign<br />
Websites & Social Marketing<br />
Examples of social marketing activity<br />
Groups & Associations<br />RNID: www.rnid.org.uk  <br />Hearing Concern LINK: www.hearingconcernlink.org<br />National Ass...
Spreading knowledge about captioning through word of mouth<br />Increased sense of inclusion when audiences know that othe...
Making captioning work<br />Making a commitment<br />Promoting the show effectively<br />Making sure it’s All Right On The...
Feedback from caption users<br />“We didn’t talk about the captions. We talked about whether or not the death throes of th...
Questions & Answers<br />
Contact details<br />Lissy Lovett<br />Programme Manager<br />STAGETEXT<br />First Floor, 54 Commercial St, <br />London E...
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STAGETEXT - presentation - Lissy - Belfast - 2011 clean

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The slides for my presentation given to attendees of the Northern Ireland Theatre Association Access to Theatre Seminar. Monday 21st February, 2011.

Covering theatre captioning with a particular emphasis on the captioning process.

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Transcript of "STAGETEXT - presentation - Lissy - Belfast - 2011 clean"

  1. 1. Captioning, the whole story<br />Lissy Lovett – Programme Manager<br />NITA – Access To Theatre Seminar<br />Grand Opera House, Belfast<br />Monday 21st February 2011<br />
  2. 2. Agenda<br />Captioning basics<br />The captioning process<br />Photographs<br />Audiences<br />
  3. 3. Captioning Basics<br />
  4. 4. What can you make out from this piece of spoken text?<br />Credit – University of Manchester<br />
  5. 5. What can you make out this time?<br />
  6. 6. Credit – www.makesensedesign.com<br />
  7. 7. Who uses captions?<br />Deaf, deafened and hard of hearing people who wish to access plays in English<br />1 in 7 of population<br />Wide range of types & severity of hearing loss<br />People whose hearing is not as sharp as it used to be<br />55% of people over the age of 60 have age-related hearing loss<br />Hearing audiences<br />
  8. 8. 359 people in audience<br />17 people booked for captioning with box office (4% of total audience)<br />103 people returned the card to say that they had found the captions useful (29% of total audience)<br />CONCLUSION: Many people using captioning do not request the service<br />The undeclared audience<br />New Wolsey Theatre, Ipswich<br />
  9. 9. What is captioning?<br />Preparation<br />Captions prepared in advance by a trained captioner<br />Delivery<br />Speech appears as text on caption unit(s)<br />Full text, speaker names, sound effects, music and offstage noises are shown<br />Similarities and differences to subtitling and surtitling<br />Outcome<br />Makes theatre accessible to deaf, deafened and hard of hearing people<br />
  10. 10. The captioning process<br />
  11. 11. The captioning process<br />
  12. 12. Formatting<br />
  13. 13. Final formatted captions<br />
  14. 14. Captioning challenges<br />3,500 to 6,000 lines per script<br />Spelling & punctuation<br />Research<br />Checking spellings<br />Foreign languages<br />Song lyrics<br />
  15. 15. STAGETEXT captioner<br />at Bristol Old Vic<br />Photo: Mike Lusmore<br />The captioned performance<br />
  16. 16. Technical information<br />Unit dimensions: <br />length 1650mm, height 335mm, <br />depth 51mm. weight: 18kg <br />
  17. 17. Good Caption Unit position<br />Decide as early as possible <br /> (see above!)<br />Include everyone - lighting, sound, stage management, box office and front of house.<br />Allocate seats accordingly<br />Check lights, speakers, safety curtain & sight lines<br />Caption units should be - <br /><ul><li>Ideally in the set
  18. 18. As close to the action as possible
  19. 19. At about actors’ head height</li></li></ul><li>Photographs<br />
  20. 20. Deafened actor Tim Barlow as Tybalt, prior to the captioned performance of Juliet and Her Romeo, Bristol Old Vic (April 2010). Photo: Mike Lusmore<br />
  21. 21. Captioned performance of <br />Les Liaisons Dangereuses<br />New Vic Theatre <br />Photo: Robert Day<br />20<br />
  22. 22. Captioned performance of <br />Little Women<br />Sadler’s Wells<br />21<br />
  23. 23. Captioned performance of Aladdin, The Wok ‘n’ Roll Panto<br />New Wolsey, Ipswich. Photo: Mike Kwasniak <br />22<br />
  24. 24. Transcribed post-show discussion following a captioned performance of <br />Yellowman<br />Hampstead Theatre<br />23<br />
  25. 25. Warm-up prior to the captioned performance of Life is a Dream<br />Donmar Warehouse<br />Photo: Matt Humphrey <br />24<br />
  26. 26. Captioned performance of Miss Saigon at the Bristol Hippodrome<br />Captioned performance of Miss Saigon at the Bristol Hippodrome<br />
  27. 27. Captioned performance of <br />Hansel and Gretel<br />Northern Stage<br />Photo: Linda Borthwick<br />26<br />
  28. 28. Gwion Wyn Jones in Oliver! With kind permission of Cameron Mackintosh Limited. <br />Photo: Simon Annand<br />
  29. 29. Audiences<br />
  30. 30. Start with your existing audience<br />Tell your audience about your access!<br />Send letters/emails to subscribers explaining captioning<br />Explain the services in brochures <br />Include the dates of accessible performances on all printed materials<br />Inform all of the box office staff about accessible performances<br />Include a pre-show explanation about captioning on the captioning display <br />Put an insert about access in programmes<br />“Bring a friend” performances<br />
  31. 31. Encouraging new audiences<br />Discover Theatre days<br />Added value – accessible post-show talks<br />
  32. 32. Printed Marketing Materials<br />Season brochure<br />Covering letter<br />Access guide to your venue<br />Local newspapers & magazines<br />Hearing loss magazines and newsletters<br />Show posters, flyers and postcards<br />Show programs<br />Use logos – but give explanations too!<br />
  33. 33. Close up of accessibility box<br />Live Theatre’s poster campaign<br />
  34. 34.
  35. 35. Websites & Social Marketing<br />
  36. 36. Examples of social marketing activity<br />
  37. 37. Groups & Associations<br />RNID: www.rnid.org.uk  <br />Hearing Concern LINK: www.hearingconcernlink.org<br />National Association of Deafened People (NADP): www.nadp.org.uk <br />National Deaf Children’s Society (NDCS): www.ndcs.org.uk<br />Royal Association for Deaf People (RAD): www.royaldeaf.org.uk<br />BDA Sign Community (the British Deaf Association): www.bda.org.uk<br />
  38. 38. Spreading knowledge about captioning through word of mouth<br />Increased sense of inclusion when audiences know that other people they know will be at the performance<br />The Sheffield Caption Support Group.<br />Social groups & ambassadors<br />
  39. 39. Making captioning work<br />Making a commitment<br />Promoting the show effectively<br />Making sure it’s All Right On The Night!<br />Installing & running technical equipment early<br />Double checking position of text & caption-user seats, and audio-description equipment<br />Customer care for audience members including awareness training for front of house staff<br />
  40. 40. Feedback from caption users<br />“We didn’t talk about the captions. We talked about whether or not the death throes of the performers were realistic.”<br />“ STAGETEXT has enabled me to go to the theatre with my family once more. ”<br />“This has opened up an entirely new world for me. The sheer delight in being able to fully understand a play is difficult to convey to a hearing person”<br />
  41. 41. Questions & Answers<br />
  42. 42. Contact details<br />Lissy Lovett<br />Programme Manager<br />STAGETEXT<br />First Floor, 54 Commercial St, <br />London E1 6LT<br />www.stagetext.org<br />lissy@stagetext.org<br /> <br />Tel: 020 7377 0540<br />Mobile: 07813 139408<br />Textphone: 020 7247 7801<br />www.twitter.com/STAGETEXT<br />www.facebook.com/STAGETEXT<br />www.youtube.com/STAGETEXT<br />
  43. 43. Thank you!<br />
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