1 00:00:00,400 --> 00:00:02,680 This is an ADLAB PRO video. 2 00:00:02,760 --> 00:00:06,080 ADLAB PRO is a project funded by the European Union. 3 00:00:06,160 --> 00:00:10,000 This video is made available to you on a Creative Commons licence. 4 00:00:11,280 --> 00:00:14,200 Hello. I'm Louise Fryer, from Utopian Voices. 5 00:00:14,320 --> 00:00:16,800 In this ADLAB PRO video I will give an overview 6 00:00:16,880 --> 00:00:19,280 of audio description for live events. 7 00:00:19,360 --> 00:00:21,920 This is Unit 1 in Module 3. 8 00:00:22,240 --> 00:00:25,960 Audio description is not only recorded for film and television. 9 00:00:26,240 --> 00:00:29,120 It is also delivered live for all sorts of events: 10 00:00:29,200 --> 00:00:33,560 plays, ballets, operas, even carnival and circus. 11 00:00:33,840 --> 00:00:36,480 It's provided in some sports arenas too 12 00:00:36,560 --> 00:00:38,800 but we won't be dealing with sport in this module. 13 00:00:39,000 --> 00:00:43,160 There are differences between AD for screen and AD for live events 14 00:00:43,240 --> 00:00:46,040 in terms of content, scripting and delivery. 15 00:00:46,240 --> 00:00:49,560 You should describe the performance space, what the theatre is like 16 00:00:49,640 --> 00:00:53,040 and where the stage is situated: at one end of the room 17 00:00:53,120 --> 00:00:55,760 or with audience on one, two or three sides 18 00:00:55,840 --> 00:01:00,000 or even moving from place to place in a promenade performance. 19 00:01:00,800 --> 00:01:04,240 In live performance, the AD is enhanced by other elements: 20 00:01:04,320 --> 00:01:07,880 an audio introduction delivered live just before the performance 21 00:01:07,960 --> 00:01:10,760 or recorded and circulated in advance. 22 00:01:10,840 --> 00:01:14,040 There may also be a touch tour, when people with sight loss 23 00:01:14,120 --> 00:01:17,120 are invited onto the stage, to explore the set and the props 24 00:01:17,200 --> 00:01:19,160 and perhaps to meet the cast. 25 00:01:19,440 --> 00:01:22,720 Traditionally, AD in the theatre is “closed”. 26 00:01:22,800 --> 00:01:26,000 People with sight loss listen to it using a headset. 27 00:01:26,080 --> 00:01:28,160 The sighted audience probably don't even know 28 00:01:28,240 --> 00:01:30,960 the description is happening. Some people with sight loss 29 00:01:31,040 --> 00:01:34,080 find headsets uncomfortable or isolating 30 00:01:34,160 --> 00:01:36,960 so the AD is integrated into the performance. 31 00:01:37,040 --> 00:01:40,800 For now I'm focussing on what's called Traditional AD. 32 00:01:41,760 --> 00:01:43,760 Unlike a film or a TV programme 33 00:01:43,840 --> 00:01:47,160 where the action is always the same, timings change. 34 00:01:47,240 --> 00:01:51,240 An actor might slow down or speed up from one performance to the next 35 00:01:51,320 --> 00:01:55,080 or forget their lines completely. The set might break down, 36 00:01:55,160 --> 00:01:57,880 or the performance is stopped because of an accident. 37 00:01:57,960 --> 00:02:01,280 You have to expect the unexpected and improvise. 38 00:02:02,760 --> 00:02:06,160 In some countries for screen AD, the describer’s script 39 00:02:06,240 --> 00:02:08,640 is delivered by a voice talent, 40 00:02:08,720 --> 00:02:11,880 in AD of live events, you'll deliver your own. 41 00:02:11,960 --> 00:02:13,960 That means you need to have good vocal skills 42 00:02:14,040 --> 00:02:15,840 to read your own script live. 43 00:02:15,920 --> 00:02:19,960 You’ll have to work some simple technical equipment too. 44 00:02:20,240 --> 00:02:22,840 For plays you'll have access to the script, 45 00:02:22,920 --> 00:02:26,200 but many types of live performance have no dialogue. 46 00:02:26,280 --> 00:02:29,560 You might need to learn technical terms for dance or circus, 47 00:02:29,640 --> 00:02:32,800 but also convey an impression of the impact of the movement . 48 00:02:32,880 --> 00:02:35,600 You have to get extremely creative. 49 00:02:35,840 --> 00:02:37,960 Another difference is that the person listening 50 00:02:38,040 --> 00:02:41,640 is part of an audience. They need to be able to laugh or cry, 51 00:02:41,720 --> 00:02:44,960 gasp or applaud at the same time as everyone else. 52 00:02:45,280 --> 00:02:47,600 As a describer of live events you'll have close contact 53 00:02:47,680 --> 00:02:50,840 with people with sight loss. You might need to guide people 54 00:02:50,920 --> 00:02:54,160 at the touch tour and show them props or costumes. 55 00:02:54,240 --> 00:02:56,440 You will also liaise with the stage manager, 56 00:02:56,520 --> 00:02:58,760 brief the cast and the front of house team 57 00:02:58,840 --> 00:03:02,080 and work closely with sound technicians. 58 00:03:02,560 --> 00:03:05,760 The description may be divided between two describers. 59 00:03:05,840 --> 00:03:09,320 One person might describe Act 1 and the other Act 2. 60 00:03:09,400 --> 00:03:11,640 Or you might divide the performance with one person 61 00:03:11,720 --> 00:03:15,640 describing scenes in the present and the other scenes in the past. 62 00:03:15,720 --> 00:03:19,200 Work closely with your fellow describer to keep the AD in synch 63 00:03:19,280 --> 00:03:21,440 in terms of style and terminology. 64 00:03:21,560 --> 00:03:24,640 Your co-describer can give you feedback. 65 00:03:24,720 --> 00:03:27,680 You may also have to incorporate feedback from people with sight loss 66 00:03:27,760 --> 00:03:30,520 or the director or a member of the company. 67 00:03:30,720 --> 00:03:32,760 That concludes this brief overview 68 00:03:32,840 --> 00:03:36,240 of the challenges involved in describing live events. 69 00:03:37,280 --> 00:03:39,280 The preparation of this presentation 70 00:03:39,360 --> 00:03:42,960 was supported by ADLAB PRO. Audio Description: 71 00:03:43,040 --> 00:03:46,680 A Laboratory for the Development of a New Professional Profile 72 00:03:46,800 --> 00:03:51,080 financed by the European Union under the Erasmus+ Programme, 73 00:03:51,160 --> 00:03:54,440 Key Action 2, Strategic Partnerships. 74 00:03:54,520 --> 00:03:55,720 Project number: 75 00:03:55,800 --> 00:04:04,160 2016-1-IT02-KA203-024311. 76 00:04:04,720 --> 00:04:08,040 The information and views set out in this presentation 77 00:04:08,120 --> 00:04:11,160 are those of the authors and do not necessarily reflect 78 00:04:11,240 --> 00:04:14,320 the official opinion of the European Union. 79 00:04:14,400 --> 00:04:17,760 Neither the European Union institutions and bodies 80 00:04:17,840 --> 00:04:20,360 nor any person acting on their behalf 81 00:04:20,440 --> 00:04:22,280 may be held responsible for the use 82 00:04:22,360 --> 00:04:25,160 which may be made of the information contained therein. 83 00:04:25,320 --> 00:04:27,320 This was an ADLAB PRO video. 84 00:04:27,400 --> 00:04:31,040 ADLAB PRO partners are: University of Trieste, 85 00:04:31,120 --> 00:04:34,120 Universitat Autònoma de Barcelona, 86 00:04:34,200 --> 00:04:38,200 University of Antwerp, Adam Mickiewicz University, 87 00:04:38,280 --> 00:04:41,280 RTV Slovenia, Utopian Voices, 88 00:04:41,360 --> 00:04:45,560 Soundfocus and Royal National Institute of Blind People. 89 00:04:45,640 --> 00:04:48,600 ADLAB PRO was funded by the European Union. 90 00:04:48,680 --> 00:04:52,200 This video was made available to you on a Creative Commons licence.