This paper is part of the NEA project (http://pagines. uab. cat/nea/), reference code FFI2015-64038-P (MINECO/FEDER, UE), whose first specific aim is to research audio description from both an inter and an intralinguistic perspective

Iturregui-Gallardo, Gonzalo

Permuy Hércules de Solás, Iris Cristina

Diposit Digital de Documents de la UAB

A STANDARD FOR THE AUDIO INTRODUCTION OF OPERASIris Cristina Permuy Hércules de SolásGonzalo Iturregui-GallardoAutonomous University of BarcelonaFFI2015 – 6408 – P (Mineco/Feder, UE)AD FOR OPERA• Information to be conveyed:• What is happening on stage• Surtitles and/or subtitles and, • Summary of the libretto (Matamala, 2005).• Huge differences from opera to opera: • The Magic Flute (Komischer Oper Berlin) vs. Macbeth (Gran Teatre del Liceu and Grand Théâtre Genéve)• TransMedia Catalonia - hotspot for research MoU with Liceu since 2005OPERA ACCESS: LICEU ACCESSIBILITY POLICY• Services offered:• Subtitles• AD• Easy reading• Induction loop• Intelligent glasses• Mobile app – OPERACCES• Subtitles• AD• AST ØIn 3 languages (Catalan, Spanish, English)AUDIOINTRODUCTIONS (AI)• AI for cinema (Romero-Fresco & Fryer, 2013; 2014) (Jankowska, 2013)• AI and applications (Reviers, 2014)(Remael & Reviers, 2013)• In Italy (Di Giovanni, 2014)• Opera (and ballet) AD (York, 2007)HOMOGENISING AI FOR OPERA• Rationale• Cohesion • User expectations• Concision • Speeding-up the production• Circulation and exchangeTHE PROPOSAL1. Presentation (audio describer’s name, opera…)2. Opera introduction, director and composer, date of release…3. Background information4. Synopsis5. Character introduction and description6. Stage and visual style7. Practical information (duration, interludes…)8. Summary of the corresponding part and/or actREFERENCES• Di Giovanni, E. (2014). Audio introduction meets audio description: an Italian experiment. inTRAlinea Special Issue: Across Screens Across Boundaries. Retrieved from: http://www.intralinea.org/specials/article/2072• Jankowska, A. (2013). “Talking a British Idea to Poland: Audio Introductions for Voiced-over Films”. Paper presented at the 4th Advanced Research Seminar on Audio Description (ARSAD), Barcelona, Spain, March 13-14, 2013-• Matamala, A. (2005). Live audio description in Catalonia. Translating Today, 4, 9–11.• Remael, A. & Reviers, N. (2013). Combining Introductions and Audio Description in Theatre. Paper presented at the 4thAdvanced Research Seminar on Audio Description (ARSAD). Barcelona, Spain. March 13-14, 2013.• Reviers, N. (2014). Audio Introductions. In Pictures Painted in Words, ADLAB Audio Description guidelines,. A. Remael, N. Reviers & G. Vercauteren (Eds). • Romero-Fresco, P., & Fryer, L. (2013). Could Audio Described Films Benefit from Audio Introductions? An Audience Response Study. Journal of Visual Impairment and Blindness. 107 (4): 287-285.• Romero-Fresco, P., & Fryer, L. (2014). Audiointroductions. In A. Matamala, A. Maszerowska, & P. Orero (Eds.), Audio Description: New Perspectives Illustrated (p. 216). John Benjamins Publishing Company. Retrieved from https://books.google.com/books?id=TdjLBAAAQBAJ&pgis=1• York, G. (2007). Verdi made visible: audio introduction for opera and ballet. In J. Díaz Cintas, P. Orero, & A. Remael (Eds.), Media for all: subtitling for the deaf, audio description, and sign language (pp. 215–230). Amsterda: Rodopi.A STANDARD FOR THE AUDIO INTRODUCTION OF OPERASIris Cristina Permuy Hércules de SolásGonzalo Iturregui-GallardoAutonomous University of BarcelonaFFI2015 – 6408 – P (Mineco/Feder, UE)

A standard for the audio introduction of operas

https://ddd.uab.cat/pub/presentacions/2017/174240/A_standard_for_the_audio_introduction_of_operas_ARSAD_2017.pdf

A standard for the audio introduction of operas

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