Kevin Dyels, CI&CT, BA Theare

Amanda Welly, NIC, MA Interpretation

 

We open this chapter by first offering an acknowledgment that producing interpreted theatre should always be produced in collaboration with Deaf theatre artists and/or an Interpreter Director. One of our goals in crafting this chapter is to continue to uplift and emphasize the importance of their work in this process.

Performing arts interpreting is a unique corner of the interpreting field that continues to be refined and perfected by and for Deaf theatre goers. Interpreting for performing arts typically includes musicals, plays and concerts. But in truth, performing arts can be found everywhere from church worship to poetry slams and conferences to monthly celebrations of culture and people. This chapter focuses on performance interpreting for musicals and plays. Interpreting in these spaces requires an extra layer of skill, translation, and stage presence. This work often has scripts or lyrics that will be analyzed in collaboration with a team interpreter and Interpreter Director. The Interpreter Director position is typically filled by a Deaf user of ASL who is familiar with the theatre space and theatre jargon. They function as a language consultant, theatre liaison, and dramaturg (a person who specializes in research, script advisors and contextual expert for a theatrical production) for the interpreting team. The ultimate goal is to offer an equivalent experience to Deaf patrons without outperforming the staged production.

 

Before Accepting the Assignment

Similar to regular interpreting work, interpreters and Interpreter Directors should consider a few questions before accepting a performing arts interpreting assignment:

 

Cultural Representation

Theatres want their interpreters to be culturally representative of the culture identified in the play or musical. An example where a Black interpreter would be appropriate might be for a show called “Fences” or “Ma Rainey‘s Black Bottom” as these shows are historically Black with Black casts and Black Culture-related content. Similarly, a show that addresses LGBTQ+ issues like “Fun Home”, should be interpreted by a member of that same community. There are many shows, of course where cultural representation might not be required, but it is good to know what to do when it is.

 

Diverse Team Selection

It is good practice to continue to hire diverse teams for shows even when a show is not identity or culturally specific. This aligns with diverse casting that theatres are cultivating in their own profession and provides opportunities for a wide range of interpreters to experience theatrical interpreting instead of keeping it limited to a select few.

 

Rates and Longevity

Generally, interpreters are typically not paid their hourly rate for all of the hours spent preparing for and interpreting the show. The goal is to decide on a rate that does not disincentivize the theatre from continuing to create ASL-accessible performances and it should not dishearten interpreters from continuing to provide services.

 

Advertising

Theatres have a budget for developing their audiences; so, it is the theatre’s responsibility to advertise the ASL-accessible performance dates in all media, social media outlets, and personal emails and flyers to subscribers and targeted audiences. Interpreters, as extensions of the venue, can assist in this effort. For example, the Interpreter Director can produce a short video inviting the Deaf community to the interpreted show. With a little extra effort, theatres can build an ecosystem of increased Deaf patrons, Interpreter Directors, and ticket sales.

 

Advocacy for the Interpreter Director

There are some theatres that are not aware of the benefits of an Interpreter Director position, so some advocacy might be in order. Interpreters can remind house managers and general managers that while professional interpreters are skilled at their craft, just like actors, they need a “director” to watch the interpretation, offer recommendations, and seek a more perfect interpretation that exceeds the accessibility expectations of the Deaf patron. Only an Interpreter Director can catch all the subtleties and nuances that great theatre has to offer.

However, having an Interpreter Director may not be feasible for every interpreter team in every state and therefore would suggest searching for local Deaf actors or theatre teachers and local Deaf Interpreters. Within these groups, interpreters can look for some Deaf professionals that are interested in supporting theatre access. Interpreter Directors are successful even if they start small by watching the interpreting team for consistency, comprehension and vocabulary and providing feedback. And of course, it is important to compensate such individuals for their time and use it as an opportunity to bring in more Deaf talent to theatre spaces and create more equitable access for audiences.

 

Coming Together

Once the Interpreter Director has been selected for the show, they should meet with the theatre and have a discussion on the best placement for the Deaf patron’s section in proximity to interpreter team placement. The optimal position for interpreters in a theatre can vary based on the theatre design, the Production, and the entrances and exits of the actors. In the best examples, any Deaf patron would not be seated further than 40 feet from the interpreters and the stage to reduce eye and physical fatigue. Similarly, interpreters should be seated on stools for the interpreted performance. This keeps interpreters from shifting too much or wandering out of the provided light.

 

Working with a Team

Overall, teams with the following characteristics tend to be successful:

• Pride and Humility (This is not a contradiction. You can have both.)
• Diversity of backgrounds
• Respect
• Shared, clear goals
• Flexibility and comfortability with change
• Good communication

As an interpreter, once you are confirmed on an interpreting team for a performance, discuss with the Interpreter Director and team about seeing the show, or “previewing,” it as early as possible. Interpreter Directors typically coordinate with the theatre and interpreting team about which dates to preview the show and attend on-site rehearsals. Merging schedules of three to four people can be difficult, so using an electronic platform, such as a Doodle poll, can be helpful with coordinating. Depending on when the date is set for the interpreted performance, the team may need to preview a rehearsal before the show officially opens.

 

The Process

 

Teaming and Preview

The best results for a successful preview come from reading the script individually, then heading as a group to the theatre to watch the show for the first time.  Ask the theatre for seats that will allow the interpreters, without obstruction, to see all parts of the stage. It is important to discuss how the Interpreter Director will access the show too. If the theatre uses captioning technology, that may be a great option. A back-up plan could also be to bring a copy of the script to the theatre for the Interpreter Director to follow along. The goal is to get the feel of the show because you will be aspiring to convey it to the Deaf audience as faithfully as possible. Interpreters should still take down a few notes to help guide their conversation with the team afterward. Consider:

• Throwing Focus. Take note of when the audience needs to have their focus on the stage instead of watching the interpreting team. For example, a character is in the foreground giving a monologue while a second actor in the background is hiding money in a safe behind a picture on the wall. Interpreters will need to stop interpreting and “look” or “throw the focus” in the direction of the safe so that the Deaf audience sees the money being hidden. After that moment, the interpreter can resume interpreting the monologue already in progress.
• Translation and Historical Accuracy. Can the Interpreter Director provide a time period, specific vocabulary or provide extra support with word play in the script?
• Backstage noises or voices. An interpreter is usually assigned to describe background noises if they are not actively interpreting for a character so that the Deaf audience is not looking for someone onstage that is not there.
• Timing and pace. Are jokes and fast dialogue going to be a challenge for the team? Some options to address such issues could be to omit some lines that are less important to the plot or interpret over each other to emphasize the overlapping dialogue on stage.
• Future Rehearsing. Does the interpreting team have access to a video archival copy of the show? Sometimes theatres can provide one. If not, the team may need to brainstorm on how to obtain a copy during the preview.

After the preview, the Interpreter Director should take the lead on dividing up and assigning the characters in the script so there is a visual balance between interpreters and the number of characters on stage. They must keep in mind which characters are in many scenes together and not give both of those characters to the same interpreter. In the instances where both assigned characters are in the same scene in dialogue with each other, another team interpreter may temporarily “borrow” characters to lessen the amount of role shifting one interpreter would need to do. It is not a requirement to have role delineation based on interpreter identity, but it can be a helpful place to start. For example, female-presenting interpreters do not need to be assigned all female-identified characters. Overall, the character assignments should support Deaf patrons’ ability to navigate the show.

Once characters have been assigned, it can be helpful for interpreters to: re-read the script, focus on the character’s development, and identify recurring themes or words that appear in the script

 

The Rehearsal Room

Before the first rehearsal, the interpreters should start a rough draft interpretation of the script on their own. Since the interpreting team is not always given the names of the Deaf audience members who have purchased tickets, it is a good rule of thumb to identify the ideal Deaf patron and the translation style that would be a best match for the team.

Rehearsal spaces vary from theatre to theatre. However, interpreters must have access to the audio, and if applicable, a visual feed of the show to experience interpreting it “live”. These are referred to as “Hands Up” rehearsals. Some theatres provide separate spaces, like a green room, while theatres may have the interpreting team practice in the back of the theatre. If the latter happens, interpreters may want to use music stands with stand lights to see the script.

The first “Hands Up” rehearsal is an opportunity to tweak interpreter assignments now that the turn-taking and character delineations are navigated in real-time, so make sure to bring your script and a pencil! Brainstorming as a team is encouraged! Remember that everyone brings a unique lens and skill to translation work that can uplift everyone on the team.

During the second and third “Hands Up” rehearsals, the team should be continuously refining their translation choices to ensure it matches the predetermined ideal patron and focus on other elements of the process such as musicality (if the show is a musical), character development, and stage presence. Remember that character development is not limited to sign choices alone – it also involves:

• Encapsulating the character’s mannerisms to make a clearer correlation with the staged character.
• Engaging clear role shifting during moments when an interpreter is signing as two or more characters in one scene. Role shifting can become convoluted if there is not a clear understanding and tracking of how the characters differ.
• Creating a distinct signing space. Some characters may be soft spoken, and the interpreter may choose to have a smaller signing space, but it should still be intelligible to audience members. If it is too small, then there needs to be some compensation made to the size of the signing space for characters that are less soft spoken. (Refer to the activity attached for character development practice).

If the performance is a musical, the timing of the translation may need to change in order to fit a particular song. If the musical contains ballads, sign production may be slowed down, or sign choices may be changed, in order to match the tone and rhythm of the song. This is something that, along with stage presence, can take the most time to develop. In the case that a musical has a lot of music without lyrics, best practice is to describe the quality of sound and the feeling it evokes instead of mimicking the instrument used. There may also be times when the interpretation shifts to look more like acting, but it is important to not create an interpretation that contrasts or overshadows the acting that is on the stage.

Stage presence can be challenging to describe, but once attained, provides the “it” factor that many performance interpreters look for and aspire to emote. The best definition for “it” is showing confidence and ease. This factor come with time and practice in theatre spaces. There are many elements that can impact stage presence such as: team dynamics, comfortability with the translation that the team has prepared, and the ability to connect with characters on stage.

Once the team finishes their third “Hands Up” rehearsal, the team should have their lines predominantly memorized which is referred to as “off-book.” The Interpreter Director can continue to give feedback and should shift toward boosting the team’s confidence. And being ready to offer support if the team experiences any pre-show nerves.

For the performance, interpreters typically wear what the theatre calls “dress blacks”, which are black slacks and a black shirt. There may be interpreters where black is not a contrasting color for their skin tone, so they may opt to wear a different contrasting solid color.  Regardless, interpreters should avoid wearing white. Some teams like to take the liberty of choosing a colored shirt that matches the color scheme of their primary character. One example would be the interpreter assigned to the character of The Wicked Witch of the West in The Wizard of Oz could wear a green shirt to match the character’s green skin.

 

The Show

The interpreter team needs to arrive at least one hour before the house opens (where the audience sits) to ensure the stools and lighting are positioned correctly. To check lighting, the Interpreter Director should have the interpreters sit on their respective stools and hold their outside arm out bent at the elbow similar to a “scarecrow arm” and the opposite hand in an open five handshape on top of their heads. This allows the lighting team to “shutter cut” or box in the light around the team, so it does not interfere with the stage lighting. The Interpreter Director will also check that the light intensity is at the correct level. This ensures that the team will be visible regardless of what the lights on stage are doing. It is best to check the light levels when the house lights are out and some stage lights are on.

Once the house is open and the patrons have found their way to their seats, the Interpreter Director will introduce the interpreter team and any pertinent information that is helpful for watching the performance. This information can be all but not limited to:

• Sign names for characters and places
• Any character “borrowing” that may happen throughout the course of the show
• A short synopsis of the story line without giving away the ending or any twists and turns.
• Requesting feedback to improve future performances. If the feedback is impacting the audience’s experience of the show, it is possible that the Interpreter Director will relay that feedback to the team during intermission. For example, needing to sign bigger because the current signing space is too small.

Once the curtain rises, do not forget to have fun and enjoy all the energy you invested in this production!

 

The Debrief

It is beneficial to wait a few days to allow the team time to process everything. This debrief can cover some if not all of the following:

• Communication
• Collaboration
• Relationship with the patrons and theatre
• Dynamics within the team
• Logistics
• Lessons learned
• Successes

This is the opportunity to tie up any loose ends from teaming together and to build camaraderie for future collaboration. It can also provide useful information to the theatre about what could be done differently in the future. It is optimal for the Interpreter Director was leading these conversations.

 

Final Thoughts

Proper theatre interpreting means having a diverse pool of skilled interpreters doing the work. Since performing arts training is scarce, performance interpreters should mentor other interpreters in this line of work. Engaging in discussions about script analyses, characterization, Deaf involvement, on-site logistics, and character delineation, etc. will help interpreters wrap their heads around the complexities of this specialized work.

Some theatres have created an understudy or backup interpreter position on the interpreting team. This backup position interpreter attends rehearsals and can step in as a failsafe should a member of the interpreting team need to back out of the show.  This is a wonderful opportunity for a qualified novice performing arts interpreter to observe the team, take notes about the process, support the Interpreter Director, and learn on the job.

Understanding theater spaces and norms is also key. To get a sense of what theatre is, we recommend taking a beginning theatre class through a community college, local community theatre, or recreation center.

It is hoped this chapter enables interpreters to embark on the journey of bringing accessible theatre into reality for Deaf and Hard of Hearing audiences everywhere in collaboration with the Deaf community.

 

 

Related Resource

 

A Timeline for Interpreter Directors

 

An Interpreter Director is hired to direct the interpreting team. They will:

• Work with the Theatre to hire two or three interpreters to complete the interpreting team for the production.
• Read the script thoroughly and act as a Dramaturg for the team doing research on the era/period and language of the play.
• Conduct a script analysis and consider how to divide the characters among the interpreters.
• Contact the interpreting team, pull out calendars and give three possible dates to preview the show. A Doodle poll can make this process easy. The goal of the first preview is to just watch and enjoy the show from the audience.
• Acts as the official Point of Contact for the interpreting team and contacts the theatre to arrange the preview opportunities for the interpreting team. This should be done early in the process to make sure the theatre can accommodate the requests.
• Lead a discussion after the preview about assigning characters, any tricky points in the play, characterizations, timing, and asking the team about any thoughts and concerns they have.
• Plan the “Hands Up” rehearsal (can be in a location that is not distracting to the audience members) and takes notes and then reviews them with the team after the show.
• Check in with the theatre about the location of the Deaf audience to ensure sightlines are clear.
• Remain available to the team for any advice and counsel as interpreters rehearse on their own time.
• For showtime, helps with setting lighting intensity and focus before the House opens and introduces the interpreting team to the Deaf and Hard of Hearing Audience, offers pertinent information including a plot summary (if necessary) and any logistical or vocabulary anomalies. Finally, introduces the interpreting team, their characters and name signs.
• After the show, provides interpreters any requested feedback from the Interpreter
• Schedule a time to debrief with the interpreter team and an additional meeting to discuss feedback with the theatre (if applicable).

References

Berklee College of Music. (n.d.). Dramaturg. Berklee College of Music Careers. https://www.berklee.edu/careers/roles/dramaturg#:~:text=What%20does%20a%20Dramaturg%20do…