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 00:00:10,480 --> 00:00:13,600 Hello. I’m Louise Fryer, from Utopian Voices. 5 00:00:13,720 --> 00:00:16,800 In this ADLAB PRO video I will give an overview 6 00:00:16,880 --> 00:00:19,440 of what to describe for live events. 7 00:00:19,520 --> 00:00:23,560 This is Unit 3 "Content Selection" in Module 3. 8 00:00:24,280 --> 00:00:27,200 For all types of AD describers have to select 9 00:00:27,280 --> 00:00:29,080 from the many things they can see. 10 00:00:29,160 --> 00:00:32,440 This includes settings, actions and characters. 11 00:00:32,520 --> 00:00:36,960 In screen AD what the audience sees is largely dictated by the director. 12 00:00:37,160 --> 00:00:41,280 Directors control our attention by camera shots and editing. 13 00:00:41,440 --> 00:00:44,520 In live events, the sighted audience has more choice 14 00:00:44,640 --> 00:00:46,560 over where to direct their gaze. 15 00:00:46,640 --> 00:00:49,200 This gives the describer more choice too. 16 00:00:49,400 --> 00:00:52,960 As well as what’s happening on stage you might need to describe 17 00:00:53,040 --> 00:00:55,920 the actions and reactions of the audience. 18 00:00:56,000 --> 00:00:58,520 Is there full on audience participation? 19 00:00:58,680 --> 00:01:01,640 You need to describe not only where a scene is set, 20 00:01:01,720 --> 00:01:03,880 but how that setting is created. 21 00:01:03,960 --> 00:01:06,920 It might be a cherry orchard, with stepladder trees. 22 00:01:07,000 --> 00:01:11,440 Or trees painted on a cardboard flat or a photographic projection trees. 23 00:01:11,640 --> 00:01:14,160 And what about the props and characters? 24 00:01:14,240 --> 00:01:16,880 A horse may be a real horse or a puppet, 25 00:01:16,960 --> 00:01:20,120 perhaps a horse-shaped framework brought to “life” by puppeteers. 26 00:01:20,240 --> 00:01:23,520 Some of these details can be given in the audio introduction, 27 00:01:23,600 --> 00:01:27,040 but you will need a reminder of how the illusion is created. 28 00:01:27,240 --> 00:01:30,000 Simon who’s partially sighted remembers a stage version 29 00:01:30,080 --> 00:01:34,160 of Chitty Chitty Bang Bang, about a fabulous flying car. 30 00:01:34,240 --> 00:01:36,720 He says “it is important to know if it’s a real car 31 00:01:36,800 --> 00:01:40,400 or just a car cut-out, a bloke standing in a cardboard car. 32 00:01:40,560 --> 00:01:43,920 You might need to describe where a character appears on stage 33 00:01:44,000 --> 00:01:47,400 "Peter comes in from the left". So users with residual vision 34 00:01:47,480 --> 00:01:50,600 know where to focus any remaining sight. 35 00:01:50,680 --> 00:01:53,200 Describe from the audience point of view. 36 00:01:53,280 --> 00:01:57,280 From the left, right, close to us, towards the back of the stage. 37 00:01:57,360 --> 00:02:01,640 You don’t need to use actors’ terminology such as upstage or DSR. 38 00:02:01,800 --> 00:02:03,920 Include details of stagecraft. 39 00:02:04,000 --> 00:02:06,120 Is the curtain lowered between scenes, 40 00:02:06,200 --> 00:02:09,240 are the lights dimmed or do we watch the stagehands? 41 00:02:09,320 --> 00:02:12,320 Perhaps the cast moves the set themselves? 42 00:02:12,840 --> 00:02:16,440 The aim is to help your audience feel they’re attending a live event. 43 00:02:16,520 --> 00:02:19,440 Not listening to a radio play. 44 00:02:19,720 --> 00:02:23,400 Here are some thoughts from an AD user and a director: 45 00:02:23,480 --> 00:02:25,920 “As a user I want an immersive experience. 46 00:02:26,000 --> 00:02:28,800 I don’t just want it to be the functional stuff.” 47 00:02:28,880 --> 00:02:31,360 “The AD was telling me what was happening on stage 48 00:02:31,440 --> 00:02:34,160 but wasn't creating the same quality of experience.” 49 00:02:34,320 --> 00:02:38,600 Here’s an example from the start of the children’s play "Peter Pan". 50 00:02:38,680 --> 00:02:41,240 “The lights in the auditorium dim. 51 00:02:41,320 --> 00:02:44,360 A young woman in a blue dressing gown, Wendy, 52 00:02:44,440 --> 00:02:47,040 picks up a teddy and props it on the pillow. 53 00:02:47,120 --> 00:02:49,880 She sits on the end of the bed and looks at us.” 54 00:02:50,080 --> 00:02:53,120 Notice how the AD moves from describing stagecraft 55 00:02:53,200 --> 00:02:55,640 to the onstage action. 56 00:02:55,720 --> 00:02:59,680 Also the tense used is the first person plural, us. 57 00:02:59,920 --> 00:03:03,080 The aim is to help users feel they are part of the audience, 58 00:03:03,160 --> 00:03:05,920 and that the describer is part of the audience too. 59 00:03:06,000 --> 00:03:08,800 It is thought to increase a sense of social presence. 60 00:03:09,040 --> 00:03:11,440 What do you think? If the description said 61 00:03:11,520 --> 00:03:13,880 “She sits on the end of the bed and looks at the audience” 62 00:03:13,960 --> 00:03:16,800 instead of “She sits on the end of the bed and looks at us.” 63 00:03:16,880 --> 00:03:20,560 Would you feel different? Would you feel more or less involved? 64 00:03:20,840 --> 00:03:23,720 Pschologists showed that social presence enhances both 65 00:03:23,800 --> 00:03:26,160 enjoyment and “transportation”, 66 00:03:26,240 --> 00:03:29,080 taking you further into the imaginary environment. 67 00:03:29,320 --> 00:03:32,120 I’ve been discussing what to describe at live events. 68 00:03:32,240 --> 00:03:34,920 Unit 3 of Module 3. 69 00:03:35,760 --> 00:03:37,760 The preparation of this presentation 70 00:03:37,840 --> 00:03:41,440 was supported by ADLAB PRO. Audio Description: 71 00:03:41,520 --> 00:03:45,160 A Laboratory for the Development of a New Professional Profile 72 00:03:45,280 --> 00:03:49,560 financed by the European Union under the Erasmus+ Programme, 73 00:03:49,640 --> 00:03:52,920 Key Action 2, Strategic Partnerships. 74 00:03:53,000 --> 00:03:54,200 Project number: 75 00:03:54,280 --> 00:04:02,640 2016-1-IT02-KA203-024311. 76 00:04:03,200 --> 00:04:06,520 The information and views set out in this presentation 77 00:04:06,600 --> 00:04:09,640 are those of the authors and do not necessarily reflect 78 00:04:09,720 --> 00:04:12,800 the official opinion of the European Union. 79 00:04:12,880 --> 00:04:16,240 Neither the European Union institutions and bodies 80 00:04:16,320 --> 00:04:18,840 nor any person acting on their behalf 81 00:04:18,920 --> 00:04:20,760 may be held responsible for the use 82 00:04:20,840 --> 00:04:23,640 which may be made of the information contained therein. 83 00:04:23,960 --> 00:04:25,960 This was an ADLAB PRO video. 84 00:04:26,040 --> 00:04:29,680 ADLAB PRO partners are: University of Trieste, 85 00:04:29,760 --> 00:04:32,760 Universitat Autònoma de Barcelona, 86 00:04:32,840 --> 00:04:36,840 University of Antwerp, Adam Mickiewicz University, 87 00:04:36,920 --> 00:04:39,920 RTV Slovenia, Utopian Voices, 88 00:04:40,000 --> 00:04:44,200 Soundfocus and Royal National Institute of Blind People. 89 00:04:44,280 --> 00:04:47,240 ADLAB PRO was funded by the European Union. 90 00:04:47,320 --> 00:04:50,960 This video was made available to you on a Creative Commons licence.