Making every word count
Tabitha Allum, Chief Executive
tabitha@stagetext.org
Background to STAGETEXT:
• Founded in 2000 following trip to London by some
deaf New Yorkers where they brought captioning...
What does STAGETEXT do?:
• Deliver captioned performances in theatres and
speech-to-text transcribed talks in museums,
gal...
Why captioning?
Why captioning?
The audience for captioning:
• UK’s 10m deaf, deafened and hard of hearing
people
• 55% of over 60s and 71% of over 70s ha...
Captioning for theatre:
• Captioner is trained – levels of grammar and
punctuation are assessed before training
• Captione...
Speech-to-text for talks and unscripted
performances:
• Use a stenographer or Palantypist
• What is being said is transcri...
Open captioning in theatre via LED displays:

Royal Court Theatre

Gaiety Theatre, Isle of Man
Open captioning in theatre via plasma/LCD and
projection:

The Captioning Studio, Australia

Tin Bath Theatre
Closed captioning in theatre:

Fuel: Going Dark at the Young
Vic

Airscript in the West End
The options:
•
•
•
•
•
•

Outsource to STAGETEXT
Buy/share/borrow equipment
For theatre: hire captioner or train your own?...
Thank you for listening
tabitha@stagetext.org
www.stagetext.org
STAGETEXT presentation ITC conference 25.11.13
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STAGETEXT presentation ITC conference 25.11.13

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STAGETEXT presentation ITC conference 25.11.13

  1. 1. Making every word count Tabitha Allum, Chief Executive tabitha@stagetext.org
  2. 2. Background to STAGETEXT: • Founded in 2000 following trip to London by some deaf New Yorkers where they brought captioning with them • 5 of our 10 Trustees and 2 of our 6 staff are deaf, deafened or hard of hearing • Currently receive regular funding from Arts Council England but also make a charge to theatres, museums and galleries • Started in theatre, now expanding to other places like museums and galleries
  3. 3. What does STAGETEXT do?: • Deliver captioned performances in theatres and speech-to-text transcribed talks in museums, galleries and other cultural venues • Help theatres set up their own captioning services by advising them on equipment and training local people as captioners • Develop technology to widen and improve the audience experience • Promote the service to audiences
  4. 4. Why captioning?
  5. 5. Why captioning?
  6. 6. The audience for captioning: • UK’s 10m deaf, deafened and hard of hearing people • 55% of over 60s and 71% of over 70s have agerelated deafness • Hearing people who don’t hear so well any more • People studying the play or topic • People who don’t have English as their first language
  7. 7. Captioning for theatre: • Captioner is trained – levels of grammar and punctuation are assessed before training • Captioner receives electronic script and DVD • Captioner prepares the text so it mirrors the way the actors deliver their lines • Includes names of characters and descriptions of music and sound effects • Captioner outputs text live
  8. 8. Speech-to-text for talks and unscripted performances: • Use a stenographer or Palantypist • What is being said is transcribed using a special keyboard and a phonetic shorthand software programme • The STTR doesn’t need a script in advance, but does need all proper nouns so that the text is accurately spelt • Text is displayed on the same screen as the slides, or on a separate screen
  9. 9. Open captioning in theatre via LED displays: Royal Court Theatre Gaiety Theatre, Isle of Man
  10. 10. Open captioning in theatre via plasma/LCD and projection: The Captioning Studio, Australia Tin Bath Theatre
  11. 11. Closed captioning in theatre: Fuel: Going Dark at the Young Vic Airscript in the West End
  12. 12. The options: • • • • • • Outsource to STAGETEXT Buy/share/borrow equipment For theatre: hire captioner or train your own? For unscripted events: STTR or revoicer? Paid or volunteers? Get together with other venues if you’re a receiving venue and caption the whole tour • Caption the tour if you’re a touring company and share the costs
  13. 13. Thank you for listening tabitha@stagetext.org www.stagetext.org

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