interpreting evolution in theatre – my learning curve

Text in theatre can be beautiful but it is the actor who brings it alive with their vitality. When providing access to patrons who are D/deaf and HOH (hard-of-hearing) the goal is to welcome them to see the actor’s energy. As a theatrical interpreter, my goal is to be seamlessly integrated into each scene so that the audience doesn’t miss any of the actor’s presentation.

my history with interpreting styles

When I attended the summer intensive program “Interpreting for the Theatre ” at Juilliard (NYC) we focused our training with the end goal of  interpreting a Broadway show. The interpreter team would be standing on the house floor, off to centre right, facing the audience.  Because action is going on all over the stage, a certain amount of timing is required to “throw focus” to the action (eye gaze indicates to the audience to view something: eg, an actor USR creeps in menacingly behind an unaware actor downstage) and then return to interpreting any missed text or auditory information. This is often referred to as the “ping pong” effect – deaf have to snap their heads back and forth to get all the information. But it was the classroom experience (taught by talented theatrical interpreters and analyzed by deaf diagnosticians) that makes this program essential for interpreters learning how to deal with dialogue, context, meaning, mood etc. Fantastic!

Upon returning home to Toronto I interpreted a few shows in this traditional fashion and discovered that deaf patrons, although pleased to have access, were still missing multiple layers of the performance. Like the Broadway shows, this is the only way to interpret a pre-blocked “road show” (a show that tours and sets up the same lighting, sets and maintains the same blocking from town to town) Ideally a location be found somewhere on stage a ( placed style of interpreting) so at least the deaf can keep their eyes up and gather some of the action in their periphery. But often there isn’t enough planning to make this happen and the interpreters are standing somewhere in the house, near a section reserved for deaf.

It was then that I learned about a unique team of interpreters in Michigan lead by Dan McDougall & Shelly Tocco (terptheatre.com)  They were hosting a weekend workshop on “shadowing” so I drove down. We were invited to step into a scene and without focusing on signing we just explored ways to be in the scene creatively. One character I was shadowing had been struck and fell to the ground. I instinctively fell with him, concerned (like his servant or friend) and attempted to help him. I signed his lines from the ground as he shouted to his attacker.  This approach made sense to me.

Not long after, I moved just north of Toronto to Barrie. There, Talk is Free Theatre contacted me because they were curious about interpretation and I explained my idea of being integrated into their show. Artistic director Arkady Spivak was excited to try it and the community up there enjoyed a few shows this way. The first attempt was more of a placed approach to integration. The interpreters were on stage, (wearing similar colours to match the mood) and held about four different positions throughout the show, being as near to the action as possible without completely shadowing. The cast were aware of these positions and adjusted their blocking slightly to accommodate. The interpreters were inserted and it worked okay. (Crazy, imagine going on stage without any rehearsal!) There still needed to be more time (and money) spent on preparing the text with the director and actors. A script can be prepared at home but without knowing the timing, the intent, any effects being added, etc. it can be quite difficult for the interpreter! (hence probably the reason why many don’t want to try the theatre setting)

"Ivanka Takes a Gamble" - Talk is Free Theatre, Barrie Ontario

We experimented further and what became my favourite show to be integrated into was “Ivanka Takes a Gamble”.  I team interpreted this show with Linda Ball, a seasoned interpreter with an energetic personality who was willing to try anything! I played the two men characters and Linda was the female lead. We sat in on many of the rehearsals to figure out meaning and the director and I looked for ways that we could be incorporated into their blocking. I was able to suggest unique approaches too: One actor sat on my lap and as I put my hands through his arms I continued to interpret while he talked, using his body to “bounce off” the signs.As a criminal was caught in a room as a guest returned, he would jump into the bed or hide under a lampshade. Naturally, I joined him! There was a hilarious scene where all 5 of us were on a vibrating bed together! The deaf got a great kick out of this.  We even danced in the musical numbers. This required much more preparation – I sat in many of the their rehearsals to figure out meaning and I looked for ways that we could be incorporated into their blocking. We hijacked one of their rehearsal days to let us wander the stage while they did their work. Then the cast had run for about two weeks before we were interjected so they were comfortably able to make room for us if we couldn’t remember where they were.  You just have to keep in context when transitioning from one scene to the next…hoping no one notices that you are in the wrong place or you missed something. But a fun experience all around and there was a great response from the deaf, many who had never experienced something like this. I was so grateful to TIFT for the ground-breaking work.

it’s all in the planning

The level of interpreting work in theatre has evolved and what is evident is the need for more planning, planning, planning! Often well-meaning companies contact me with a few weeks notice, asking if we could interpret a show and they aren’t prepared for the cost or preparation required. In this situation, we arrange a placed approach to this show, usually at a lower cost. Unfortunately, this means little preparation which is where the cost lies – not in how many shows are covered. The interpretation suffers as does the audience appreciation without full integration but it suffices because it is last minute. This is a good opportunity though to start thinking about audience development – offer a low price ticket for this “test” show to let the deaf community get used to attending. If no time for a separate rehearsal, tack on an extra interpreted show but don’t advertise that to the deaf – this becomes the rehearsal for the interpreters (the hearing audience will enjoy the integration and most likely won’t understand any signing mistakes!) However, care has to be taken not to present a poorly interpreted show – if an interpreter accepts the assignment without care of preparation and consideration for audiences’ needs, then they most likely aren’t experienced enough and just want the limelight. Ideally the presentation is good enough to keep deaf interested to come back for another show after lots of planning  for next season.

the ultimate scenerio

All of this can be avoided by just planning in advance. Click on the category For Theatre Companies to learn more . The approach is to incorporate the interpreting process almost as  a new department! They are a part of the budget and as shows are brought on, discussions happen regarding which shows will be interpreted. Advertising, FOH (front of house), costumes…all areas are aware of this additional creative layer to the show and are excited to be a part of it.

As an example of a well thought out process of becoming accessible, check out Clay and Paper Theatre’s website. This past summer (2009) they spent months considering how to provide access by hiring members of the blind and of the deaf community to consult on their community’s needs. I was hired as an interpreting advisor and with the deaf counterpart (the fabulous Liz Morris) the company made a clear commitment to inclusiveness and their interpreted performances were very successful. This is the next incarnation of interpreting theatre that is unique, I believe, to our industry. They hope to build on this brand of providing ASL interpreted shows and develop an audience following for years to come.

Date: April 7th, 2011

Click on “past shows” to see details about “Brothel #9” at Factory Theatre (February 2011) and “Montparnasse” at Theatre Passe Muraille (March 2011)

Date: June 20th, 2010

Update! I was hired by Volcano Theatre in Toronto as an advisor to create a plan to have their massive showstopper, “Africa Trilogy” be interpreted in the Luminato Festival. With 3 teams, totalling 7 interpreters, we just wrapped our shows and are winding down. Details under “past shows”.

~ by Jo Bennett on September 15, 2009.