The following scholarly articles, books, and book sections may be useful to those wishing to study interpreted theatre.
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2021
McDougall, Daniel P.
Sign Language Interpreter Space: a phenomenological case study of interpreted theatre PhD Thesis
Heriot-Watt University, 2021, (Contact Danny McDougall via terptheatre.com for a copy.).
@phdthesis{McDougall2021b,
title = {Sign Language Interpreter Space: a phenomenological case study of interpreted theatre},
author = {Daniel P. McDougall},
year = {2021},
date = {2021-04-21},
school = {Heriot-Watt University},
abstract = {This qualitative, phenomenological study explores the production of space by sign
language interpreters in the theatre, and the influence of multiple interacting spaces on
the co-construction of meaning between participants of these interpreted interactions. A
sign language interpreted performance (SLIP) of Disney’s The Lion King serves as a case
study of the placed strategy, which situates the interpreters on the outer edges of the
performance space. Placed interpreting is the dominant SLIP strategy. Applications of
Lefebvre’s (1991) spatial trialectics in deaf spaces and in theatre spaces contribute to the
study’s conceptual framework for considering interpreted theatre spaces, the SLIP Spatial
Framework.
Experiences of the SLIP described by deaf audience members, actors, and the interpreting
team combine with observation data and secondary references to form a composite
narrative re-telling of the experiences of the SLIP from multiple perspectives. Deaf
people are shown to produce deaf spaces within the multiple, highly orchestrated
incumbent physical and fictional spaces of the theatre. Meaning co-construction occurs
between all three groups, not as a process channelled through the interpreters.
The study offers a foundational discussion of sign language interpreter space and a tool
for researchers and practitioners: the SLIP Spatial Framework. Application of Lefebvrian
spatial trialectics aligns the study with a growing body of deaf space research, while
demonstrating ways in which interpreters blend features of deaf spatial production with
those of the situations in which they operate.},
note = {Contact Danny McDougall via terptheatre.com for a copy.},
keywords = {PhD},
pubstate = {published},
tppubtype = {phdthesis}
}
This qualitative, phenomenological study explores the production of space by sign
language interpreters in the theatre, and the influence of multiple interacting spaces on
the co-construction of meaning between participants of these interpreted interactions. A
sign language interpreted performance (SLIP) of Disney’s The Lion King serves as a case
study of the placed strategy, which situates the interpreters on the outer edges of the
performance space. Placed interpreting is the dominant SLIP strategy. Applications of
Lefebvre’s (1991) spatial trialectics in deaf spaces and in theatre spaces contribute to the
study’s conceptual framework for considering interpreted theatre spaces, the SLIP Spatial
Framework.
Experiences of the SLIP described by deaf audience members, actors, and the interpreting
team combine with observation data and secondary references to form a composite
narrative re-telling of the experiences of the SLIP from multiple perspectives. Deaf
people are shown to produce deaf spaces within the multiple, highly orchestrated
incumbent physical and fictional spaces of the theatre. Meaning co-construction occurs
between all three groups, not as a process channelled through the interpreters.
The study offers a foundational discussion of sign language interpreter space and a tool
for researchers and practitioners: the SLIP Spatial Framework. Application of Lefebvrian
spatial trialectics aligns the study with a growing body of deaf space research, while
demonstrating ways in which interpreters blend features of deaf spatial production with
those of the situations in which they operate.
language interpreters in the theatre, and the influence of multiple interacting spaces on
the co-construction of meaning between participants of these interpreted interactions. A
sign language interpreted performance (SLIP) of Disney’s The Lion King serves as a case
study of the placed strategy, which situates the interpreters on the outer edges of the
performance space. Placed interpreting is the dominant SLIP strategy. Applications of
Lefebvre’s (1991) spatial trialectics in deaf spaces and in theatre spaces contribute to the
study’s conceptual framework for considering interpreted theatre spaces, the SLIP Spatial
Framework.
Experiences of the SLIP described by deaf audience members, actors, and the interpreting
team combine with observation data and secondary references to form a composite
narrative re-telling of the experiences of the SLIP from multiple perspectives. Deaf
people are shown to produce deaf spaces within the multiple, highly orchestrated
incumbent physical and fictional spaces of the theatre. Meaning co-construction occurs
between all three groups, not as a process channelled through the interpreters.
The study offers a foundational discussion of sign language interpreter space and a tool
for researchers and practitioners: the SLIP Spatial Framework. Application of Lefebvrian
spatial trialectics aligns the study with a growing body of deaf space research, while
demonstrating ways in which interpreters blend features of deaf spatial production with
those of the situations in which they operate.
O'Brien, Dai
Theorising the deaf body : using Lefebvre and Bourdieu to understand deaf spatial experience Journal Article
In: Cultural Geographies, 2021.
Abstract | Links | BibTeX | Tags: Deaf Space, Deaf Studies
@article{OBrien2021,
title = {Theorising the deaf body : using Lefebvre and Bourdieu to understand deaf spatial experience},
author = {Dai O'Brien},
url = {https://doi.org/10.1177/14744740211003632},
doi = {10.1177/14744740211003632},
year = {2021},
date = {2021-01-01},
journal = {Cultural Geographies},
abstract = {In the field of Deaf Geographies, one neglected area is that of the individual deaf body and how individual deaf bodies can produce deaf space in isolation from one another. Much of the work published in the field talks about collectively or socially produced deaf spaces through interaction between two or more deaf people. However, with deaf children increasingly being educated in mainstream schools with individual provisions, and the old social networks and institutions of deaf communities coming under threat by the closure of deaf clubs and changing work practices, more research on the way in which individuals can produce their own deaf spaces and navigate those spaces is needed. In this paper, I outline two possible theoretical approaches, that of Lefebvre's productive gestures to produce social space, and Bourdieu's habitus, capital and hexis. I suggest that these theories can be productively utilised to better understand the individual basis of the production of deaf spaces.},
keywords = {Deaf Space, Deaf Studies},
pubstate = {published},
tppubtype = {article}
}
In the field of Deaf Geographies, one neglected area is that of the individual deaf body and how individual deaf bodies can produce deaf space in isolation from one another. Much of the work published in the field talks about collectively or socially produced deaf spaces through interaction between two or more deaf people. However, with deaf children increasingly being educated in mainstream schools with individual provisions, and the old social networks and institutions of deaf communities coming under threat by the closure of deaf clubs and changing work practices, more research on the way in which individuals can produce their own deaf spaces and navigate those spaces is needed. In this paper, I outline two possible theoretical approaches, that of Lefebvre's productive gestures to produce social space, and Bourdieu's habitus, capital and hexis. I suggest that these theories can be productively utilised to better understand the individual basis of the production of deaf spaces.
McDougall, Danny
Cognition and Online Course Design: lessons from deaf spaces Inproceedings
In: Research Symposium For Research, Scholarship, and Creativity, Madonna University Center for Research, Livonia, Michigan, 2021.
Abstract | Links | BibTeX | Tags: cognition, Deaf Space, human geography, interpreter space
@inproceedings{McDougall2021,
title = {Cognition and Online Course Design: lessons from deaf spaces},
author = {Danny McDougall},
url = {https://terptheatre.org/cognition-and-online-course-design-lessons-from-deaf-spaces/, View Presentation Video Online},
year = {2021},
date = {2021-01-01},
booktitle = {Research Symposium For Research, Scholarship, and Creativity},
publisher = {Madonna University Center for Research},
address = {Livonia, Michigan},
abstract = {After more than a year adapting on-ground teaching to an online environment, reports of camera fatigue, anxiety, and other challenges to learning come from students, teachers, and researchers. Teachers commonly adopt a screen-sharing approach during live and recorded class sessions, offering students a side-by-side view of the instructor and the instruction materials (e.g., slide decks, illustrations, equations). This session will examine the influence of this online visual arrangement on student learning. Through the lens of deaf space, the underlying challenges posed by the side-by-side arrangement will be identified and an integrated visual approach will be offered. Examples of adaptations made in the SLS department will be included, along with a discussion of the associated technical methods employed to achieve content integration. This presentation was requested by faculty members after seeing an integrated approach during an online meeting. It borrows from my dissertation, which offers a theoretical conceptualization of interpreter geography and interpreter space, Sign Language Interpreter Space: a phenomenological case study of interpreted theatre.},
keywords = {cognition, Deaf Space, human geography, interpreter space},
pubstate = {published},
tppubtype = {inproceedings}
}
After more than a year adapting on-ground teaching to an online environment, reports of camera fatigue, anxiety, and other challenges to learning come from students, teachers, and researchers. Teachers commonly adopt a screen-sharing approach during live and recorded class sessions, offering students a side-by-side view of the instructor and the instruction materials (e.g., slide decks, illustrations, equations). This session will examine the influence of this online visual arrangement on student learning. Through the lens of deaf space, the underlying challenges posed by the side-by-side arrangement will be identified and an integrated visual approach will be offered. Examples of adaptations made in the SLS department will be included, along with a discussion of the associated technical methods employed to achieve content integration. This presentation was requested by faculty members after seeing an integrated approach during an online meeting. It borrows from my dissertation, which offers a theoretical conceptualization of interpreter geography and interpreter space, Sign Language Interpreter Space: a phenomenological case study of interpreted theatre.
2020
McDougall, Danny
Families, Children, and Seniors Committee, Michigan House of Representatives, Lansing, Michigan, 2020.
Abstract | Links | BibTeX | Tags: Deaf Education
@proceedings{McDougall2020,
title = {Testimony in support for Michigan HB No. 5836, relating to LEAD-K (Language Equality and Acquisition for Deaf Kids)},
author = {Danny McDougall},
url = {https://www.dannymcdougall.com/testimony/},
year = {2020},
date = {2020-09-02},
publisher = {Families, Children, and Seniors Committee, Michigan House of Representatives},
address = {Lansing, Michigan},
institution = {Families, Children, and Seniors Committee, Michigan House of Representatives},
abstract = {Michigan's LEAD-K bill proposed new guidelines for ensuring that Deaf children in the are prepared for school. I was asked by the LEAD-K committee to provide testimony (which was read into the record on my behalf due to COVID guidelines). },
keywords = {Deaf Education},
pubstate = {published},
tppubtype = {proceedings}
}
Michigan's LEAD-K bill proposed new guidelines for ensuring that Deaf children in the are prepared for school. I was asked by the LEAD-K committee to provide testimony (which was read into the record on my behalf due to COVID guidelines).
Skyer, Michael E
The bright triad and five propositions: Toward a Vygotskian framework for deaf pedagogy and research Journal Article
In: American Annals of the Deaf, vol. 164, pp. 577-591, 2020, ISSN: 15430375.
Abstract | Links | BibTeX | Tags: Deaf pedagogy, Deaf research methodology, Deaf Space, Deaf Studies, human geography, Vygotskian theory
@article{Skyer2020,
title = {The bright triad and five propositions: Toward a Vygotskian framework for deaf pedagogy and research},
author = {Michael E Skyer},
doi = {10.1353/aad.2020.0004},
issn = {15430375},
year = {2020},
date = {2020-01-01},
journal = {American Annals of the Deaf},
volume = {164},
pages = {577-591},
abstract = {L. S. Vygotsky’s contributions to social research shifted paradigms by constructing now-foundational theories of teaching, learning, language, and their educational interactions. This article contextualizes a nearly forgotten, century-old research corpus, The Fundamentals of Defectology. Drawing on Defectology, two dialectic arguments are developed, which synthesize Vygotsky’s corpus, then juxtaposed it against contemporary theories and evidence. The first describes three principles of Vygotsky’s framework for deaf pedagogy: positive differentiation, creative adaptation, and dynamic development. The second posits five propositions about deaf development: the biosocial proposition, the sensory delimitation-and-consciousness proposition, the adapted tools proposition, the multimodal proposition, and the conflict proposition. By leveraging Vygotsky’s optimism in response to the absorbing and difficult challenges of experimental, methodological, and theoretical research about deafness, including the psychology of disability and special methods of pedagogy, both arguments constitute a future-oriented call to action for researchers and pedagogues working in deaf education today.},
keywords = {Deaf pedagogy, Deaf research methodology, Deaf Space, Deaf Studies, human geography, Vygotskian theory},
pubstate = {published},
tppubtype = {article}
}
L. S. Vygotsky’s contributions to social research shifted paradigms by constructing now-foundational theories of teaching, learning, language, and their educational interactions. This article contextualizes a nearly forgotten, century-old research corpus, The Fundamentals of Defectology. Drawing on Defectology, two dialectic arguments are developed, which synthesize Vygotsky’s corpus, then juxtaposed it against contemporary theories and evidence. The first describes three principles of Vygotsky’s framework for deaf pedagogy: positive differentiation, creative adaptation, and dynamic development. The second posits five propositions about deaf development: the biosocial proposition, the sensory delimitation-and-consciousness proposition, the adapted tools proposition, the multimodal proposition, and the conflict proposition. By leveraging Vygotsky’s optimism in response to the absorbing and difficult challenges of experimental, methodological, and theoretical research about deafness, including the psychology of disability and special methods of pedagogy, both arguments constitute a future-oriented call to action for researchers and pedagogues working in deaf education today.
2019
Richardson, Michael
Playing bilingual: Interweaving deaf and hearing cultural practices to achieve equality of participation in theatrical performance processes PhD Thesis
Heriot-Watt University, 2019.
Abstract | BibTeX | Tags: blended casts, Deaf theatre
@phdthesis{Richardson2019,
title = {Playing bilingual: Interweaving deaf and hearing cultural practices to achieve equality of participation in theatrical performance processes},
author = {Michael Richardson},
year = {2019},
date = {2019-01-01},
school = {Heriot-Watt University},
abstract = {This thesis aims to interrogate the potential for equality of participation in theatrical performance for deaf and hearing actors and spectators. The research builds on earlier work by the author that reveals that existing methods employed to provide accessibility for deaf people are widely considered by deaf spectators to be ineffective in offering equality of participation. It sits within an interdisciplinary theoretical frame that draws from Deaf Studies, Performance Studies and Bourdieu's field theory. Methodologically the research is grounded in Freire's Pedagogy of the Oppressed and draws on the principles of Participatory Action Research, guidelines for ethical practice when working with deaf people, and Applied Theatre practice as research. Knowledge is generated by a group of ten actors, five who self-identify as deaf and five as hearing. They are tasked with identifying techniques for creating performances that might be equally accessible to deaf and hearing audiences. Over five days they devise nine new scenes, the primary data of the project. The scenes are shown to a mixed deaf/hearing audience, and metadata concerning audience response to the scenes are generated in focus groups. Further metadata concerning the creative process are generated by the actors, using reflective diaries and small group reflexive interviews. Throughout the project, the lead researcher predominantly adopts the role of participant observer; his field notes also form part of the metadata. The scenes created employ a variety of cross-cultural and bilingual performance techniques. Despite the ensemble's view that each scene will be successful in offering access, the response of the spectators suggests that equality of participation is not achieved; the societal frames of each group create different expectations and prejudices that influence the receptive process. Socio-analysis of the metadata concerning the creative process reveals a similar situation. Examples of practice do occur, however, in which equality of participation is achieved. This is dependent on participants over-riding their own ideological positions, particularly those concerning language and translation, to create a third space where practice is not determined by field conditions, but instead where participants who draw from both oppressor and oppressed groups work together to create a utopia of Freirean equality.},
keywords = {blended casts, Deaf theatre},
pubstate = {published},
tppubtype = {phdthesis}
}
This thesis aims to interrogate the potential for equality of participation in theatrical performance for deaf and hearing actors and spectators. The research builds on earlier work by the author that reveals that existing methods employed to provide accessibility for deaf people are widely considered by deaf spectators to be ineffective in offering equality of participation. It sits within an interdisciplinary theoretical frame that draws from Deaf Studies, Performance Studies and Bourdieu's field theory. Methodologically the research is grounded in Freire's Pedagogy of the Oppressed and draws on the principles of Participatory Action Research, guidelines for ethical practice when working with deaf people, and Applied Theatre practice as research. Knowledge is generated by a group of ten actors, five who self-identify as deaf and five as hearing. They are tasked with identifying techniques for creating performances that might be equally accessible to deaf and hearing audiences. Over five days they devise nine new scenes, the primary data of the project. The scenes are shown to a mixed deaf/hearing audience, and metadata concerning audience response to the scenes are generated in focus groups. Further metadata concerning the creative process are generated by the actors, using reflective diaries and small group reflexive interviews. Throughout the project, the lead researcher predominantly adopts the role of participant observer; his field notes also form part of the metadata. The scenes created employ a variety of cross-cultural and bilingual performance techniques. Despite the ensemble's view that each scene will be successful in offering access, the response of the spectators suggests that equality of participation is not achieved; the societal frames of each group create different expectations and prejudices that influence the receptive process. Socio-analysis of the metadata concerning the creative process reveals a similar situation. Examples of practice do occur, however, in which equality of participation is achieved. This is dependent on participants over-riding their own ideological positions, particularly those concerning language and translation, to create a third space where practice is not determined by field conditions, but instead where participants who draw from both oppressor and oppressed groups work together to create a utopia of Freirean equality.
King, Catherine
Weaving patterns in performance: dramaturgy and the art of performance interpreting Journal Article
In: Scottish Journal of Performance, vol. 6, no. 1, pp. 11–29, 2019, ISSN: 20541953.
Abstract | Links | BibTeX | Tags: dramaturgy, Interpreting, Shakespeare, Theatre Interpreting
@article{King2019,
title = {Weaving patterns in performance: dramaturgy and the art of performance interpreting},
author = {Catherine King},
url = {http://www.scottishjournalofperformance.org/King_weaving_patterns_in_performance_SJoP0601_DOI_10.14439sjop.2019.0601.02.pdf http://doi.org/10.14439/sjop.2019.0601.02},
doi = {10.14439/sjop.2019.0601.02},
issn = {20541953},
year = {2019},
date = {2019-01-01},
journal = {Scottish Journal of Performance},
volume = {6},
number = {1},
pages = {11--29},
abstract = {Performance interpreters (PIs) working between English and British Sign Language often work alone to translate performance texts with little or no access to the creative team and are generally untrained in the specific skills required for the performance setting. In addition, the current theatre industry tends to adopt a mechanised approach to access that takes little or no account of the creative aspects of translation and interpreting work. In response to this, and to facilitate a conversation about the performance aspects of the work of the PI, this article discusses the concept of dramaturgy and considers its application to performance interpreting. The article draws on a practice-based project which embedded three PIs in a theatre production of Henry V at the Royal Conservatoire of Scotland and argues that performance interpreting can be framed as a dramaturgically-driven undertaking, rather than an interpreting task. The article sheds light on this frame's effects on the PIs' processes, and on the experience of the director and cast members. It proposes and evaluates five guiding principles for a dramaturgically-driven frame for use by directors of performance interpreting.},
keywords = {dramaturgy, Interpreting, Shakespeare, Theatre Interpreting},
pubstate = {published},
tppubtype = {article}
}
Performance interpreters (PIs) working between English and British Sign Language often work alone to translate performance texts with little or no access to the creative team and are generally untrained in the specific skills required for the performance setting. In addition, the current theatre industry tends to adopt a mechanised approach to access that takes little or no account of the creative aspects of translation and interpreting work. In response to this, and to facilitate a conversation about the performance aspects of the work of the PI, this article discusses the concept of dramaturgy and considers its application to performance interpreting. The article draws on a practice-based project which embedded three PIs in a theatre production of Henry V at the Royal Conservatoire of Scotland and argues that performance interpreting can be framed as a dramaturgically-driven undertaking, rather than an interpreting task. The article sheds light on this frame's effects on the PIs' processes, and on the experience of the director and cast members. It proposes and evaluates five guiding principles for a dramaturgically-driven frame for use by directors of performance interpreting.
2017
Richardson, Michael
Sign language interpreting in theatre: Using the human body to create pictures of the human soul Journal Article
In: TranscUlturAl: A Journal of Translation and Cultural Studies, vol. 9, no. 1, pp. 45, 2017, ISSN: 1920-0323.
Abstract | Links | BibTeX | Tags: Theatre Interpreting
@article{Richardson2017,
title = {Sign language interpreting in theatre: Using the human body to create pictures of the human soul},
author = {Michael Richardson},
url = {https://doi.org/10.21992/T9N33B
https://journals.library.ualberta.ca/tc/index.php/TC/article/download/29265/21379},
doi = {10.21992/t9n33b},
issn = {1920-0323},
year = {2017},
date = {2017-01-01},
journal = {TranscUlturAl: A Journal of Translation and Cultural Studies},
volume = {9},
number = {1},
pages = {45},
abstract = {This paper explores theatrical interpreting for Deaf spectators, a specialism that both blurs the separation between translation and interpreting, and replaces these potentials with a paradigm in which the translator's body is central to the production of the target text. Meaningful written translations of dramatic texts into sign language are not currently possible. For Deaf people to access Shakespeare or Moliere in their own language usually means attending a sign language interpreted performance, a typically disappointing experience that fails to provide accessibility or to fulfil the potential of a dynamically equivalent theatrical translation. I argue that when such interpreting events fail, significant contributory factors are the challenges involved in producing such a target text and the insufficient embodiment of that text. The second of these factors suggests that the existing conference and community models of interpreting are insufficient in describing theatrical interpreting. I propose that a model drawn from Theatre Studies, namely psychophysical acting, might be more effective for conceptualising theatrical interpreting. I also draw on theories from neurological research into the Mirror Neuron System to suggest that a highly visual and physical approach to performance (be that by actors or interpreters) is more effective in building a strong actor-spectator interaction than a performance in which meaning is conveyed by spoken words. Arguably this difference in language impact between signed and spoken is irrelevant to hearing audiences attending spoken language plays, but I suggest that for all theatre translators the implications are significant: it is not enough to create a literary translation as the target text; it is also essential to produce a text that suggests physicality. The aim should be the creation of a text which demands full expression through the body, the best picture of the human soul and the fundamental medium of theatre.},
keywords = {Theatre Interpreting},
pubstate = {published},
tppubtype = {article}
}
This paper explores theatrical interpreting for Deaf spectators, a specialism that both blurs the separation between translation and interpreting, and replaces these potentials with a paradigm in which the translator's body is central to the production of the target text. Meaningful written translations of dramatic texts into sign language are not currently possible. For Deaf people to access Shakespeare or Moliere in their own language usually means attending a sign language interpreted performance, a typically disappointing experience that fails to provide accessibility or to fulfil the potential of a dynamically equivalent theatrical translation. I argue that when such interpreting events fail, significant contributory factors are the challenges involved in producing such a target text and the insufficient embodiment of that text. The second of these factors suggests that the existing conference and community models of interpreting are insufficient in describing theatrical interpreting. I propose that a model drawn from Theatre Studies, namely psychophysical acting, might be more effective for conceptualising theatrical interpreting. I also draw on theories from neurological research into the Mirror Neuron System to suggest that a highly visual and physical approach to performance (be that by actors or interpreters) is more effective in building a strong actor-spectator interaction than a performance in which meaning is conveyed by spoken words. Arguably this difference in language impact between signed and spoken is irrelevant to hearing audiences attending spoken language plays, but I suggest that for all theatre translators the implications are significant: it is not enough to create a literary translation as the target text; it is also essential to produce a text that suggests physicality. The aim should be the creation of a text which demands full expression through the body, the best picture of the human soul and the fundamental medium of theatre.
2016
McDougall, Danny
The Poetic Features of Sorry/Grateful: A linguistic analysis Conference
Critical Link 8, Edinburgh, GBR, 2016, (If you would like a copy of this document, please contact Danny through the contact form here on TerpTheatre.).
Abstract | BibTeX | Tags: interpreting studies, literary translation, sign language poetry, Theatre Interpreting, Translation
@conference{McDougall2016,
title = {The Poetic Features of Sorry/Grateful: A linguistic analysis},
author = {Danny McDougall},
year = {2016},
date = {2016-01-01},
booktitle = {Critical Link 8},
address = {Edinburgh, GBR},
abstract = {Translating music and poetry embedded in theatre scripts requires knowledge of literary devices in both the source and target languages. No matter how stylized the language, all scripts lead back to the conversational discourse patterns that appear in our lives and in other translation genres. Sign language interpreters working in the theatre are especially obliged to mitigate the challenges associated with translating theatre texts, as spoken and visual languages employ vastly different mechanisms for signaling rhyme, rhythm, and other forms of creative expression. This paper analyses sign language poetry techniques utilized in a translation of “Sorry/Grateful” from the musical Company. The analysis includes a discussion of ASL poetry techniques utilized to approximate the poetic features of the original English lyrics. Emphasis includes visual rhyme, representing paradox, and developing neologisms in sign language, and is framed within previous studies focusing on analysis of sign language poetry techniques. Findings reveal a purposeful manipulation of the unique phonological and morphological features of signed language, based on established techniques utilized by sign language poets. Sign language interpreters working with theatre scripts may use these findings to inform their own use of sign language poetry techniques when translating creative messages from spoken to visual languages.},
note = {If you would like a copy of this document, please contact Danny through the contact form here on TerpTheatre.},
keywords = {interpreting studies, literary translation, sign language poetry, Theatre Interpreting, Translation},
pubstate = {published},
tppubtype = {conference}
}
Translating music and poetry embedded in theatre scripts requires knowledge of literary devices in both the source and target languages. No matter how stylized the language, all scripts lead back to the conversational discourse patterns that appear in our lives and in other translation genres. Sign language interpreters working in the theatre are especially obliged to mitigate the challenges associated with translating theatre texts, as spoken and visual languages employ vastly different mechanisms for signaling rhyme, rhythm, and other forms of creative expression. This paper analyses sign language poetry techniques utilized in a translation of “Sorry/Grateful” from the musical Company. The analysis includes a discussion of ASL poetry techniques utilized to approximate the poetic features of the original English lyrics. Emphasis includes visual rhyme, representing paradox, and developing neologisms in sign language, and is framed within previous studies focusing on analysis of sign language poetry techniques. Findings reveal a purposeful manipulation of the unique phonological and morphological features of signed language, based on established techniques utilized by sign language poets. Sign language interpreters working with theatre scripts may use these findings to inform their own use of sign language poetry techniques when translating creative messages from spoken to visual languages.
2015
Fischer-Lichte, Erika; Wihstutz, Benjamin (Ed.)
Performance and the Politics of Space: Theatre and Topology Book
Routledge, New York, 2015, ISBN: 113621027X, 9781136210273.
Abstract | BibTeX | Tags: theatre, theatre space
@book{Fischer-Lichte2015,
title = {Performance and the Politics of Space: Theatre and Topology},
editor = {Erika Fischer-Lichte and Benjamin Wihstutz},
isbn = {113621027X, 9781136210273},
year = {2015},
date = {2015-01-01},
publisher = {Routledge},
address = {New York},
abstract = {From its very beginnings, theatre has been both an art and a public space, shared by actors and spectators. As a result, its entity and history is intimately tied to politics: a politics of inclusion and exclusion, of distributions and placements, of spatial appropriation and utopian concepts. This collection examines what is at stake when a theatrical space is created and when a performance takes place; it asks under what circumstances the topology of theatre becomes political. The book approaches this issue from various angles, taking theatre as a cultural paradigm for political dimensions of space in its respective historical context. Visiting the political dimensions of theatrical space in both theatre history and contemporary performance, the volume responds to the so-called spatial turn in cultural and historical studies, and questions a politics of aesthetics that is discussed in continental philosophy. The book visits different levels and linkages between aesthetic theory and geography, art and sociology, architecture and political theory, and geometry and history, shedding new light on theatre, politics, and space, thereby transforming this historically intertwined triad into a transdisciplinary theme.},
keywords = {theatre, theatre space},
pubstate = {published},
tppubtype = {book}
}
From its very beginnings, theatre has been both an art and a public space, shared by actors and spectators. As a result, its entity and history is intimately tied to politics: a politics of inclusion and exclusion, of distributions and placements, of spatial appropriation and utopian concepts. This collection examines what is at stake when a theatrical space is created and when a performance takes place; it asks under what circumstances the topology of theatre becomes political. The book approaches this issue from various angles, taking theatre as a cultural paradigm for political dimensions of space in its respective historical context. Visiting the political dimensions of theatrical space in both theatre history and contemporary performance, the volume responds to the so-called spatial turn in cultural and historical studies, and questions a politics of aesthetics that is discussed in continental philosophy. The book visits different levels and linkages between aesthetic theory and geography, art and sociology, architecture and political theory, and geometry and history, shedding new light on theatre, politics, and space, thereby transforming this historically intertwined triad into a transdisciplinary theme.
McDougall, Danny
We are (not) rock stars: honoring the performance without overpowering it Journal Article
In: ENCORE: the blog of Auslan Stage Left, 2015.
Abstract | Links | BibTeX | Tags: SLIPs, Theatre Interpreting
@article{McDougall2015,
title = {We are (not) rock stars: honoring the performance without overpowering it},
author = {Danny McDougall},
url = {https://terptheatre.org/not-rock-stars/},
year = {2015},
date = {2015-01-01},
journal = {ENCORE: the blog of Auslan Stage Left},
abstract = {This guest blog post is a reflection on the visibility of sign language interpreters in theatre settings.},
keywords = {SLIPs, Theatre Interpreting},
pubstate = {published},
tppubtype = {article}
}
This guest blog post is a reflection on the visibility of sign language interpreters in theatre settings.
2014
Mielke, Kaitlyn
ASL interpreting or captioning at Broadway shows: A deaf patron's perspective Online
The Creative Pensive 2014, visited: 03.12.2014.
Links | BibTeX | Tags: Captions, Theatre Interpreting
@online{Mielke2014b,
title = {ASL interpreting or captioning at Broadway shows: A deaf patron's perspective},
author = {Kaitlyn Mielke},
url = {http://thecreativepensieve.blogspot.com/2014/11/asl-interpreting-or-captioning-at.html},
year = {2014},
date = {2014-11-24},
urldate = {2014-12-03},
booktitle = {The Creative Pensive:},
organization = {The Creative Pensive},
keywords = {Captions, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
Horwitz, Miriam Gantz
Demands and strategies of interpreting a theatrical performance into American Sign Language Journal Article
In: Journal of Interpretation, vol. 23, no. 1, 2014.
Abstract | Links | BibTeX | Tags: SLIPs, Theatre Interpreting
@article{Horwitz2014,
title = {Demands and strategies of interpreting a theatrical performance into American Sign Language},
author = {Miriam Gantz Horwitz},
url = {https://digitalcommons.unf.edu/joi/vol23/iss1/4},
year = {2014},
date = {2014-01-01},
journal = {Journal of Interpretation},
volume = {23},
number = {1},
abstract = {Providing access to a theatrical performance for a deaf audience is a complex task that involves a variety of skills. Theatrical companies spend months preparing for a performance by conducting production meetings, blocking choreography, creating costuming, sets, and lighting, and rehearsing with actors all of which are designed to culminate in a dynamic artistic expression on stage. Likewise, for the theatrical interpreter, preparation is a complicated multi-phase task with a variety of linguistic and paralinguistic demands that are unlike interpreting discourse in other settings. Interpreters must translate and interpret a fully scripted source language, the theatrical script, into the target language while expressing the vision of the creative team and the actors’ embodiment of the words. In theatre, artistic expression can be expressed through song, dance, emotional scenes as well as lighting, theatrical effects, and action, among many other devices. Interpreters must negotiate said forms of artistic expression in order to achieve dynamic equivalence. Ultimately, the goal of the theatrical interpreter is for deaf audience members to have a theatrical experience equivalent to that of hearing audience members.
Gebron (1996) and Rocks (2011) addressed considerations for theatrical interpreting such as placement, technical considerations, and accounting for visual information and stage action. Studies on equivalence in translation (Gile, 2009, Larson, 1998, Nida, 1964) have provided insight into the process of translation and considerations for attaining equivalence. However, little investigation has been conducted in regard to the specific linguistic and paralinguistic demands of English to American Sign Language (ASL) interpretation for the purpose of equivalence in theatrical interpreting. For the purpose of this study paralinguistics refers to the vocal and sound effects that may communicate meaning. This study examined the phenomenon of theatrical interpretation, explored the interpreters’ process in seeking equivalence when interpreting for performance, and will describe the strategies they employed to meet the linguistic and paralinguistic demands they confront in this setting. In this study, I investigate the following question: What are the linguistic and paralinguistic demands and interpreting strategies found in the ASL interpretation of a theatrical performance? What linguistic and paralinguistic considerations do interpreters make during their process to satisfy these demands?},
keywords = {SLIPs, Theatre Interpreting},
pubstate = {published},
tppubtype = {article}
}
Providing access to a theatrical performance for a deaf audience is a complex task that involves a variety of skills. Theatrical companies spend months preparing for a performance by conducting production meetings, blocking choreography, creating costuming, sets, and lighting, and rehearsing with actors all of which are designed to culminate in a dynamic artistic expression on stage. Likewise, for the theatrical interpreter, preparation is a complicated multi-phase task with a variety of linguistic and paralinguistic demands that are unlike interpreting discourse in other settings. Interpreters must translate and interpret a fully scripted source language, the theatrical script, into the target language while expressing the vision of the creative team and the actors’ embodiment of the words. In theatre, artistic expression can be expressed through song, dance, emotional scenes as well as lighting, theatrical effects, and action, among many other devices. Interpreters must negotiate said forms of artistic expression in order to achieve dynamic equivalence. Ultimately, the goal of the theatrical interpreter is for deaf audience members to have a theatrical experience equivalent to that of hearing audience members.
Gebron (1996) and Rocks (2011) addressed considerations for theatrical interpreting such as placement, technical considerations, and accounting for visual information and stage action. Studies on equivalence in translation (Gile, 2009, Larson, 1998, Nida, 1964) have provided insight into the process of translation and considerations for attaining equivalence. However, little investigation has been conducted in regard to the specific linguistic and paralinguistic demands of English to American Sign Language (ASL) interpretation for the purpose of equivalence in theatrical interpreting. For the purpose of this study paralinguistics refers to the vocal and sound effects that may communicate meaning. This study examined the phenomenon of theatrical interpretation, explored the interpreters’ process in seeking equivalence when interpreting for performance, and will describe the strategies they employed to meet the linguistic and paralinguistic demands they confront in this setting. In this study, I investigate the following question: What are the linguistic and paralinguistic demands and interpreting strategies found in the ASL interpretation of a theatrical performance? What linguistic and paralinguistic considerations do interpreters make during their process to satisfy these demands?
Gebron (1996) and Rocks (2011) addressed considerations for theatrical interpreting such as placement, technical considerations, and accounting for visual information and stage action. Studies on equivalence in translation (Gile, 2009, Larson, 1998, Nida, 1964) have provided insight into the process of translation and considerations for attaining equivalence. However, little investigation has been conducted in regard to the specific linguistic and paralinguistic demands of English to American Sign Language (ASL) interpretation for the purpose of equivalence in theatrical interpreting. For the purpose of this study paralinguistics refers to the vocal and sound effects that may communicate meaning. This study examined the phenomenon of theatrical interpretation, explored the interpreters’ process in seeking equivalence when interpreting for performance, and will describe the strategies they employed to meet the linguistic and paralinguistic demands they confront in this setting. In this study, I investigate the following question: What are the linguistic and paralinguistic demands and interpreting strategies found in the ASL interpretation of a theatrical performance? What linguistic and paralinguistic considerations do interpreters make during their process to satisfy these demands?
of Interpreters for the Deaf, Registry
Standard Practice Paper: Interpreting for the performing arts Technical Report
Registry of Interpreters for the Deaf Alexandria, VA, 2014.
Abstract | Links | BibTeX | Tags: SLIPs, Theatre Interpreting
@techreport{RegistryofInterpretersfortheDeaf2014,
title = {Standard Practice Paper: Interpreting for the performing arts},
author = {Registry of Interpreters for the Deaf
},
url = {https://rid.org/about-rid/about-interpreting/setting-standards/standard-practice-papers/},
year = {2014},
date = {2014-01-01},
address = {Alexandria, VA},
institution = {Registry of Interpreters for the Deaf},
abstract = {The Registry of Interpreters for the Deaf, Inc., (RID) Standard Practice Paper (SPP) provides a framework of basic, respectable standards for RID members’ professional work and conduct with consumers. This paper also provides specific information about the practice setting. This document is intended to raise awareness, educate, guide and encourage sound basic methods of professional practice. The SPP should be considered by members in arriving at an appropriate course of action with respect to their practice and professional conduct. It is hoped that the standards will promote commitment to the pursuit of excellence in the practice of interpreting and be used for public distribution and advocacy.},
keywords = {SLIPs, Theatre Interpreting},
pubstate = {published},
tppubtype = {techreport}
}
The Registry of Interpreters for the Deaf, Inc., (RID) Standard Practice Paper (SPP) provides a framework of basic, respectable standards for RID members’ professional work and conduct with consumers. This paper also provides specific information about the practice setting. This document is intended to raise awareness, educate, guide and encourage sound basic methods of professional practice. The SPP should be considered by members in arriving at an appropriate course of action with respect to their practice and professional conduct. It is hoped that the standards will promote commitment to the pursuit of excellence in the practice of interpreting and be used for public distribution and advocacy.
Sutton-Spence, Rachel
Deaf Gain and Creativity in Signed Language Book Chapter
In: Bauman, H. -Dirksen L; Murray, Joseph J (Ed.): Deaf Gain: Raising the Stakes for Human Diversity, Chapter 26, pp. 457–477, University of Minnesota Press, Minneapolis, 2014, ISBN: 9780816691210.
Links | BibTeX | Tags: Deaf Studies, sign language poetry
@inbook{Sutton-Spence2014,
title = {Deaf Gain and Creativity in Signed Language},
author = {Rachel Sutton-Spence},
editor = {H.-Dirksen L Bauman and Joseph J Murray},
url = {http://www.worldcat.org/oclc/877364958},
isbn = {9780816691210},
year = {2014},
date = {2014-01-01},
booktitle = {Deaf Gain: Raising the Stakes for Human Diversity},
pages = {457--477},
publisher = {University of Minnesota Press},
address = {Minneapolis},
chapter = {26},
keywords = {Deaf Studies, sign language poetry},
pubstate = {published},
tppubtype = {inbook}
}
Mielke, Kaitlyn
The Song That Goes Like This: The Art of Theatrical Sign Language Interpreting and Translating Masters Thesis
University of Minnesota, 2014.
Abstract | Links | BibTeX | Tags: Accessibility, Theatre Interpreting
@mastersthesis{Mielke2014,
title = {The Song That Goes Like This: The Art of Theatrical Sign Language Interpreting and Translating},
author = {Kaitlyn Mielke},
url = {http://hdl.handle.net/11299/163479},
year = {2014},
date = {2014-01-01},
number = {May},
pages = {68},
school = {University of Minnesota},
abstract = {What sets theatre sign language interpreters apart from their colleagues in non-theatre settings is that they focus not only on the mechanics, but the theatrics of their craft. After examining the role of the theatre interpreter and current interpreting models, a new model is proposed that reflects the overlapping roles of actors and theatre interpreters. This leads to the understanding that theater accessibility for Deaf and Hard of Hearing patrons is a shared responsibility among the constituents that form the theatergoing experience as whole.},
keywords = {Accessibility, Theatre Interpreting},
pubstate = {published},
tppubtype = {mastersthesis}
}
What sets theatre sign language interpreters apart from their colleagues in non-theatre settings is that they focus not only on the mechanics, but the theatrics of their craft. After examining the role of the theatre interpreter and current interpreting models, a new model is proposed that reflects the overlapping roles of actors and theatre interpreters. This leads to the understanding that theater accessibility for Deaf and Hard of Hearing patrons is a shared responsibility among the constituents that form the theatergoing experience as whole.
Llewellyn-Jones, Peter; Lee, Robert G
Redefining the role of the community interpreter: The concept of role-space Book
SLI Press, 2014, ISBN: 9780992993603.
Abstract | Links | BibTeX | Tags: interpreting studies, role
@book{Llewellyn-Jones2014,
title = {Redefining the role of the community interpreter: The concept of role-space},
author = {Peter Llewellyn-Jones and Robert G Lee},
url = {http://www.worldcat.org/oclc/949799228},
isbn = {9780992993603},
year = {2014},
date = {2014-01-01},
publisher = {SLI Press},
abstract = {'Redefining the Role of the Community Interpreter' questions the traditional notion of 'role' that is so often taught on interpreter education and training courses and, more often than not, prescribed by the Codes of Ethics/Practice/Conduct published by institutional users and providers of interpreting services. By examining the nature of face-to-face interactions and drawing on the most recent research into community and public service interpreting, the authors propose and describe a wholly new approach to the role of the interpreter; one based on research and the experiences of the authors, both of whom have, for many years, taught postgraduate interpreting courses and, for even more years, interpreted in a wide variety of settings, from international conferences to social services departments, from presidential addresses to benefits offices, and from doctors’ surgeries to Courts of Appeal. The ‘role-space’ model treats all interactions as unique and offers the interpreter a tool to prepare for and participate in those interactions. Excellent language skills are taken for granted, as is the integrity of the interpreter; what is new is the freedom of the interpreter to make appropriate professional decisions based on the reality of the interaction they are interpreting.},
keywords = {interpreting studies, role},
pubstate = {published},
tppubtype = {book}
}
'Redefining the Role of the Community Interpreter' questions the traditional notion of 'role' that is so often taught on interpreter education and training courses and, more often than not, prescribed by the Codes of Ethics/Practice/Conduct published by institutional users and providers of interpreting services. By examining the nature of face-to-face interactions and drawing on the most recent research into community and public service interpreting, the authors propose and describe a wholly new approach to the role of the interpreter; one based on research and the experiences of the authors, both of whom have, for many years, taught postgraduate interpreting courses and, for even more years, interpreted in a wide variety of settings, from international conferences to social services departments, from presidential addresses to benefits offices, and from doctors’ surgeries to Courts of Appeal. The ‘role-space’ model treats all interactions as unique and offers the interpreter a tool to prepare for and participate in those interactions. Excellent language skills are taken for granted, as is the integrity of the interpreter; what is new is the freedom of the interpreter to make appropriate professional decisions based on the reality of the interaction they are interpreting.
Sutton-Spence, Rachel
Deaf Gain and Creativity in Signed Language Incollection
In: Bauman, H. -Dirksen L; Murray, Joseph J (Ed.): Deaf Gain: Raising the Stakes for Human Diversity, pp. 457–477, University of Minnesota Press, Minneapolis, 2014.
Links | BibTeX | Tags: Deaf literature, Deaf Studies, sign language poetry
@incollection{Sutton-Spence2014b,
title = {Deaf Gain and Creativity in Signed Language},
author = {Rachel Sutton-Spence},
editor = {H.-Dirksen L Bauman and Joseph J Murray},
url = {https://www.google.com/books/edition/Deaf_Gain/ey90DwAAQBAJ},
year = {2014},
date = {2014-01-01},
booktitle = {Deaf Gain: Raising the Stakes for Human Diversity},
pages = {457--477},
publisher = {University of Minnesota Press},
address = {Minneapolis},
chapter = {26},
keywords = {Deaf literature, Deaf Studies, sign language poetry},
pubstate = {published},
tppubtype = {incollection}
}
2013
McDougall, Danny
How is it done? Online
TerpTheatre 2013.
Abstract | Links | BibTeX | Tags: TerpTheatre, Theatre Interpreting
@online{McDougall2013,
title = {How is it done?},
author = {Danny McDougall},
url = {https://terptheatre.org/technical.html},
year = {2013},
date = {2013-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TerpTheatre},
abstract = {An archived TerpTheatre online article about the process of interpreter preparation for shadowed interpreting performances. },
keywords = {TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre online article about the process of interpreter preparation for shadowed interpreting performances.
McDougall, Danny
Shadow interpreting on stage Online
TerpTheatre 2013.
Abstract | Links | BibTeX | Tags: TerpTheatre
@online{McDougall2013a,
title = {Shadow interpreting on stage},
author = {Danny McDougall},
url = {https://terptheatre.org/shadowing.html},
year = {2013},
date = {2013-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TerpTheatre},
abstract = {An archived TerpTheatre article describing shadow interpreting on stage.},
keywords = {TerpTheatre},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre article describing shadow interpreting on stage.
2012
Brodie, Geraldine S
Theatre translation for performance: conflict of interests, conflict of cultures Book Chapter
In: Wilson, R; Maher, B (Ed.): Words, Images and Performances in Translation, Chapter 4, pp. 63–81, Continuum, New York, 2012.
Links | BibTeX | Tags: theatre translation, theory
@inbook{Brodie2012,
title = {Theatre translation for performance: conflict of interests, conflict of cultures},
author = {Geraldine S Brodie},
editor = {R Wilson and B Maher},
url = {https://books.google.com/books?id=T1sSBwAAQBAJ&lpg=PA63&ots=rLDmuRuFVd&dq=Theatre%20translation%20for%20performance%3A%20conflict%20of%20interests%2C%20conflict%20of%20cultures&lr&pg=PA64#v=onepage&q=Theatre%20translation%20for%20performance:%20conflict%20of%20interests,%20conflict%20of%20cultures&f=false},
year = {2012},
date = {2012-01-01},
booktitle = {Words, Images and Performances in Translation},
pages = {63--81},
publisher = {Continuum},
address = {New York},
chapter = {4},
keywords = {theatre translation, theory},
pubstate = {published},
tppubtype = {inbook}
}
2011
Rocks, Sobhán
The theatre sign language interpreter and the competing visual narrative: The translation and interpretation of theatrical texts into British Sign Language Book Chapter
In: Roger., Marinetti Cristina. Perteghella Manuela. Baines (Ed.): Staging and Performing Translation, Chapter 4, pp. 72–86, Palgrave MacMillan, New York, 2011, ISBN: 9780230294608.
BibTeX | Tags: Theatre Interpreting
@inbook{Rocks2011,
title = {The theatre sign language interpreter and the competing visual narrative: The translation and interpretation of theatrical texts into British Sign Language},
author = {Sobhán Rocks},
editor = {Marinetti Cristina. Perteghella} Manuela. {Baines Roger.},
isbn = {9780230294608},
year = {2011},
date = {2011-01-01},
booktitle = {Staging and Performing Translation},
pages = {72--86},
publisher = {Palgrave MacMillan},
address = {New York},
chapter = {4},
keywords = {Theatre Interpreting},
pubstate = {published},
tppubtype = {inbook}
}
Valente, Joseph Michael
Cyborgization: Deaf Education for Young Children in the Cochlear Implantation Era Journal Article
In: Qualitative Inquiry, vol. 17, no. 7, pp. 639–652, 2011.
Abstract | Links | BibTeX | Tags: Deaf Education, Deaf Studies
@article{doi:10.1177/1077800411414006,
title = {Cyborgization: Deaf Education for Young Children in the Cochlear Implantation Era},
author = {Joseph Michael Valente},
url = {https://doi.org/10.1177/1077800411414006},
doi = {10.1177/1077800411414006},
year = {2011},
date = {2011-01-01},
journal = {Qualitative Inquiry},
volume = {17},
number = {7},
pages = {639--652},
abstract = {The author, who was raised oral deaf himself, recounts a visit to a school for young deaf children and discovers that young d/Deaf children and their rights are subverted by the cochlear implantation empire. The hypercapitalist, techno-manic times of cochlear implantation has wreaked havoc to the lives of not only young children with deafness but also the parents themselves are indoctrinated into a system that first strips them of their competency through the diagnosing ritual to finally stripping the parents of their own rights to make fully informed choices for their children. The genre of this exposé is DeafCrit, drawing on journalistic traditions of muckraking and the methods of new journalism to report on, deconstruct, and critique the involvement of audist/ableist medical, business, welfare, and education stakeholders in the rise of cochlear implants in young children and how this operation is altering the landscape of deaf education.},
keywords = {Deaf Education, Deaf Studies},
pubstate = {published},
tppubtype = {article}
}
The author, who was raised oral deaf himself, recounts a visit to a school for young deaf children and discovers that young d/Deaf children and their rights are subverted by the cochlear implantation empire. The hypercapitalist, techno-manic times of cochlear implantation has wreaked havoc to the lives of not only young children with deafness but also the parents themselves are indoctrinated into a system that first strips them of their competency through the diagnosing ritual to finally stripping the parents of their own rights to make fully informed choices for their children. The genre of this exposé is DeafCrit, drawing on journalistic traditions of muckraking and the methods of new journalism to report on, deconstruct, and critique the involvement of audist/ableist medical, business, welfare, and education stakeholders in the rise of cochlear implants in young children and how this operation is altering the landscape of deaf education.
2007
Kilpatrick, Brian R
The history of the formation of Deaf children's theatre in the United States PhD Thesis
Lamar University, 2007.
Abstract | Links | BibTeX | Tags: children's theatre, Deaf theatre
@phdthesis{Kilpatrick2007,
title = {The history of the formation of Deaf children's theatre in the United States},
author = {Brian R Kilpatrick},
url = {https://www.rit.edu/ntid/deaftheatre/},
year = {2007},
date = {2007-01-01},
school = {Lamar University},
abstract = {This dissertation explores the history of Deaf Children's Theatre in America, by collecting and recording its formation and development from archival materials, from on-site interviews, and from documents published during the late twentieth century. This study investigates the ways in which theatre became accessible to deaf people through apposite legislation and describes several forms of accessibility services for deaf and hearing audiences at theatrical performances. The evolution of theatre leading to the formation of Deaf Theatre and, later, to the nascence of Deaf Children's Theatre is explored within the larger social and political context of the American culture. The case history of each of the six Deaf Children's Theatre groups established variously at Hartford, Connecticut; Bethesda, Maryland; Seattle, Washington; Boston, Massachusetts; Chicago, Illinois; and Houston, Texas is presented to portray the particular development of Theatre Arts for deaf children in America. The six Deaf Children's Theatre groups presented in this study have had different approaches to complementing and completing deaf children's education. Suggested future research is directed to the potential future impact of drama on deaf children's language development and also to various avenues of support for Deaf Theatre in its battle for survival.},
keywords = {children's theatre, Deaf theatre},
pubstate = {published},
tppubtype = {phdthesis}
}
This dissertation explores the history of Deaf Children's Theatre in America, by collecting and recording its formation and development from archival materials, from on-site interviews, and from documents published during the late twentieth century. This study investigates the ways in which theatre became accessible to deaf people through apposite legislation and describes several forms of accessibility services for deaf and hearing audiences at theatrical performances. The evolution of theatre leading to the formation of Deaf Theatre and, later, to the nascence of Deaf Children's Theatre is explored within the larger social and political context of the American culture. The case history of each of the six Deaf Children's Theatre groups established variously at Hartford, Connecticut; Bethesda, Maryland; Seattle, Washington; Boston, Massachusetts; Chicago, Illinois; and Houston, Texas is presented to portray the particular development of Theatre Arts for deaf children in America. The six Deaf Children's Theatre groups presented in this study have had different approaches to complementing and completing deaf children's education. Suggested future research is directed to the potential future impact of drama on deaf children's language development and also to various avenues of support for Deaf Theatre in its battle for survival.
McDougall, Danny
Interpreter costuming Online
2007.
Abstract | Links | BibTeX | Tags: costumes, practice, TerpTheatre, Theatre Interpreting
@online{McDougall2007,
title = {Interpreter costuming},
author = {Danny McDougall},
url = {https://terptheatre.org/costumes.html},
year = {2007},
date = {2007-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
abstract = {An archived TerpTheatre website article on costuming of sign language interpreters.},
keywords = {costumes, practice, TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre website article on costuming of sign language interpreters.
McDougall, Danny
Zoned style Online
TerpTheatre 2007.
Abstract | Links | BibTeX | Tags: practice, TerpTheatre, Theatre Interpreting
@online{McDougall2007a,
title = {Zoned style},
author = {Danny McDougall},
url = {https://terptheatre.org/zoned.html},
year = {2007},
date = {2007-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TerpTheatre},
abstract = {An archived TerpTheatre online article about the zoned approach to theatre interpreting.},
keywords = {practice, TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre online article about the zoned approach to theatre interpreting.
McDougall, Danny
Shadowed style Online
TepTheatre 2007.
Abstract | Links | BibTeX | Tags: practice, TerpTheatre, Theatre Interpreting
@online{McDougall2007b,
title = {Shadowed style},
author = {Danny McDougall},
url = {https://terptheatre.org/shadowed.html},
year = {2007},
date = {2007-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TepTheatre},
abstract = {An archived TerpTheatre article about the shadowed approach to theatre interpreting.},
keywords = {practice, TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre article about the shadowed approach to theatre interpreting.
McDougall, Danny
Placed style Online
TerpTheatre 2007.
Abstract | Links | BibTeX | Tags: practice, TerpTheatre, Theatre Interpreting
@online{McDougall2007c,
title = {Placed style},
author = {Danny McDougall},
url = {https://terptheatre.org/placed.html},
year = {2007},
date = {2007-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TerpTheatre},
abstract = {An archived TerpTheatre online article about placed interpreting on stage.},
keywords = {practice, TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre online article about placed interpreting on stage.
McDougall, Danny
Interpreting strategies Online
TerpTheatre 2007.
Abstract | Links | BibTeX | Tags: practice, TerpTheatre, Theatre Interpreting
@online{McDougall2007d,
title = {Interpreting strategies},
author = {Danny McDougall},
url = {https://terptheatre.org/strats.html},
year = {2007},
date = {2007-01-01},
booktitle = {TerpTheatre: Sign language interpreting for the theatre},
organization = {TerpTheatre},
abstract = {An archived TerpTheatre online article about three strategies involved in theatre interpreting (i.e., placed, zoned, and shadowing).},
keywords = {practice, TerpTheatre, Theatre Interpreting},
pubstate = {published},
tppubtype = {online}
}
An archived TerpTheatre online article about three strategies involved in theatre interpreting (i.e., placed, zoned, and shadowing).
2006
Peters, Cynthia
Deaf American theater Book Chapter
In: Bauman, H. -Dirksen L; Nelson, Jennifer L; Rose, Heidi M (Ed.): Signing the body poetic: essays on American Sign Language literature, Chapter 4, pp. 71–94, University of California Press, Berkeley, 2006.
Links | BibTeX | Tags: Deaf theatre, theatre
@inbook{Peters2006,
title = {Deaf American theater},
author = {Cynthia Peters},
editor = {H.-Dirksen L Bauman and Jennifer L Nelson and Heidi M Rose},
url = {https://doi.org/10.1525/9780520935914-009},
year = {2006},
date = {2006-01-01},
booktitle = {Signing the body poetic: essays on American Sign Language literature},
pages = {71--94},
publisher = {University of California Press},
address = {Berkeley},
chapter = {4},
keywords = {Deaf theatre, theatre},
pubstate = {published},
tppubtype = {inbook}
}
2004
Perteghella, Manuela
A Descriptive Framework for Collaboration in Theatre Translation PhD Thesis
University of East Anglia, Norwich, UK, 2004.
Abstract | Links | BibTeX | Tags: theatre translation
@phdthesis{Perteghella2004,
title = {A Descriptive Framework for Collaboration in Theatre Translation},
author = {Manuela Perteghella},
url = {https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426946},
year = {2004},
date = {2004-01-01},
school = {University of East Anglia, Norwich, UK},
abstract = {The research proposes a descriptive framework for collaborative theatre translation practices. The objective of the research is to (re)define collaboration in theatre translation, addressing the variance at the heart of collaborative practices, and their interactions with other translation practices, such as single-authored. The main objective is achieved by describing types of collaboration along three parameters: a) the translation agencies (the individual rewriters involved in the process); b) the process (phases, recurring textual strategies, and theatrical cultures affecting the process); c) the (cultural) products that collaborative practices may engender, together with implications for both stage practice and theatre writing. With insights from cultural anthropology, the research also applies the concepts of , transcultural ism' and íntraculturalism' to textual strategies occurring during the translational process, particularly with reference to the translation of dialect and regionalised plays. The framework is illustrated by case studies, testing its possible pedagogical application. A (re )definition of collaboration can also be of significant help to translators and directors working in the field of international drama, by highlighting the practices available to them in contemporary theatre translation projects and by identifying and addressing the issues and implications surrounding each collaborative practice.},
keywords = {theatre translation},
pubstate = {published},
tppubtype = {phdthesis}
}
The research proposes a descriptive framework for collaborative theatre translation practices. The objective of the research is to (re)define collaboration in theatre translation, addressing the variance at the heart of collaborative practices, and their interactions with other translation practices, such as single-authored. The main objective is achieved by describing types of collaboration along three parameters: a) the translation agencies (the individual rewriters involved in the process); b) the process (phases, recurring textual strategies, and theatrical cultures affecting the process); c) the (cultural) products that collaborative practices may engender, together with implications for both stage practice and theatre writing. With insights from cultural anthropology, the research also applies the concepts of , transcultural ism' and íntraculturalism' to textual strategies occurring during the translational process, particularly with reference to the translation of dialect and regionalised plays. The framework is illustrated by case studies, testing its possible pedagogical application. A (re )definition of collaboration can also be of significant help to translators and directors working in the field of international drama, by highlighting the practices available to them in contemporary theatre translation projects and by identifying and addressing the issues and implications surrounding each collaborative practice.
2003
Ladd, Paddy
Understanding deaf culture: In search of deafhood Book
Multilingual Matters, Clevedon, England, 2003, ISBN: 1853595462.
Links | BibTeX | Tags: Deaf Studies
@book{Ladd2003,
title = {Understanding deaf culture: In search of deafhood},
author = {Paddy Ladd},
url = {http://www.worldcat.org/oclc/729954482},
isbn = {1853595462},
year = {2003},
date = {2003-01-01},
publisher = {Multilingual Matters},
address = {Clevedon, England},
keywords = {Deaf Studies},
pubstate = {published},
tppubtype = {book}
}
2002
Turner, Graham H; Pollitt, Kyra
Community interpreting meets literary translation: English-BSL interpreting in the theatre Journal Article
In: The Translator, vol. 8, no. 1, pp. 25–48, 2002.
Abstract | Links | BibTeX | Tags: Theatre Interpreting, theory
@article{Turner2002,
title = {Community interpreting meets literary translation: English-BSL interpreting in the theatre},
author = {Graham H Turner and Kyra Pollitt},
url = {https://www.tandfonline.com/action/showCoverImage?doi=10.1080/rtrn20.v008.i01},
year = {2002},
date = {2002-01-01},
journal = {The Translator},
volume = {8},
number = {1},
pages = {25--48},
abstract = {In recent times, sign language interpreting has come to be identified as a form of community interpreting. Yet there are communicative seJtings in which sign language interpreters work that cal! into question some ofthe received wisdom. Probably the ost extraordinary setting is the theatre. Sign language interpreters now provide access at theatrical events from Shakespearean ragedies to experimental multimedia productions. This paper sheds light in particular on three elements. First, how does the theatre interpreter mediate between source text, performance text, and target audience? Secoifd, once the text has been prepared, what is involved in delivering it on stage, and therefore in mediating live between actors and audience? Third, how can we describe the political positioning ofthe interpreter in this context? This brings us ful! circle: how can we locate this field of activity for analytical purposes, acknowledging its links to both community interpreting and literary translation?},
keywords = {Theatre Interpreting, theory},
pubstate = {published},
tppubtype = {article}
}
In recent times, sign language interpreting has come to be identified as a form of community interpreting. Yet there are communicative seJtings in which sign language interpreters work that cal! into question some ofthe received wisdom. Probably the ost extraordinary setting is the theatre. Sign language interpreters now provide access at theatrical events from Shakespearean ragedies to experimental multimedia productions. This paper sheds light in particular on three elements. First, how does the theatre interpreter mediate between source text, performance text, and target audience? Secoifd, once the text has been prepared, what is involved in delivering it on stage, and therefore in mediating live between actors and audience? Third, how can we describe the political positioning ofthe interpreter in this context? This brings us ful! circle: how can we locate this field of activity for analytical purposes, acknowledging its links to both community interpreting and literary translation?
2000
Gebron, Julie
Sign the speech: An introduction to theatrical interpreting Book
2nd, Butte Publications, Hillsboro, OR, 2000, ISBN: 978-1884362415.
Abstract | Links | BibTeX | Tags: Theatre Interpreting
@book{Gebron2000,
title = {Sign the speech: An introduction to theatrical interpreting},
author = {Julie Gebron},
url = {https://books.google.com/books/about/Sign_the_Speech.html?id=2t_RGwAACAAJ},
isbn = {978-1884362415},
year = {2000},
date = {2000-04-01},
publisher = {Butte Publications},
address = {Hillsboro, OR},
edition = {2nd},
abstract = {Julie Gebron, a professionally certified sign language interpreter, has been specializing in theatrical interpreting for a decade. Her book provides basic information about the requirements and processes of interpreting for the stage. Interpreters provide more opportunities for access to the arts, as well as exposure, for a variety of people. Culturally Deaf, Hard of Hearing, Late-Deafened or Oral theatregoers may all require sign language as a means to access the dialog of the play. They rely on the expertise of the interpreter to make their theatre experience worthwhile. Julie Gebron; (1996) Second Edition 91 pages; soft cover.},
keywords = {Theatre Interpreting},
pubstate = {published},
tppubtype = {book}
}
Julie Gebron, a professionally certified sign language interpreter, has been specializing in theatrical interpreting for a decade. Her book provides basic information about the requirements and processes of interpreting for the stage. Interpreters provide more opportunities for access to the arts, as well as exposure, for a variety of people. Culturally Deaf, Hard of Hearing, Late-Deafened or Oral theatregoers may all require sign language as a means to access the dialog of the play. They rely on the expertise of the interpreter to make their theatre experience worthwhile. Julie Gebron; (1996) Second Edition 91 pages; soft cover.
1999
McAuley, Gay
Space in performance: Making meaning in the theatre Book
University of Michigan Press, Ann Arbor, 1999, ISBN: 0472110047.
@book{McAuley2010b,
title = {Space in performance: Making meaning in the theatre},
author = {Gay McAuley},
isbn = {0472110047},
year = {1999},
date = {1999-01-01},
publisher = {University of Michigan Press},
address = {Ann Arbor},
keywords = {theatre},
pubstate = {published},
tppubtype = {book}
}
1994
Garner, S
Bodied Spaces: Phenomenology and Performance in Contemporary Drama Book
Cornell University Press, 1994, ISBN: 9781501735370.
Abstract | Links | BibTeX | Tags: theatre, theatre space
@book{garner2019bodied,
title = {Bodied Spaces: Phenomenology and Performance in Contemporary Drama},
author = {S Garner},
url = {https://books.google.com/books?id=kXeZDwAAQBAJ},
isbn = {9781501735370},
year = {1994},
date = {1994-01-01},
publisher = {Cornell University Press},
abstract = {In a venturesome study of corporeality and perception in contemporary drama, Stanton B. Garner, Jr., turns this awareness of the spectator's gaze back upon itself. His book takes up two of drama's most essential and elusive elements: spatiality, through which plays establish fields of visual and environmental relationship; and the human body, through which these fields are articulated. Within the spatial terms of theater, this book puts the body and its perceptual worlds back into performance theory.
Garner's approach is phenomenological, emphasizing perception and experience in the theatrical environment. His discussion of the work of playwrights after 1950-including Samuel Beckett, Eugene Ionesco, Peter Weiss, Harold Pinter, Sam Shepard, David Mamet, Edward Bond, Maria Irene Fornes, Caryl Churchill, and Ntozake Shange—explores the body's modes of presence in contemporary drama. Drawing on work in areas as diverse as scenographic theory, medical phenomenology, contemporary linguistics, and feminist theories of the body, Garner addresses topics such as theatrical image, stage objects, dramatic language, the suffering body, and the staging of gender, all with a view toward developing a phenomenology of mise en scene.},
keywords = {theatre, theatre space},
pubstate = {published},
tppubtype = {book}
}
In a venturesome study of corporeality and perception in contemporary drama, Stanton B. Garner, Jr., turns this awareness of the spectator's gaze back upon itself. His book takes up two of drama's most essential and elusive elements: spatiality, through which plays establish fields of visual and environmental relationship; and the human body, through which these fields are articulated. Within the spatial terms of theater, this book puts the body and its perceptual worlds back into performance theory.
Garner's approach is phenomenological, emphasizing perception and experience in the theatrical environment. His discussion of the work of playwrights after 1950-including Samuel Beckett, Eugene Ionesco, Peter Weiss, Harold Pinter, Sam Shepard, David Mamet, Edward Bond, Maria Irene Fornes, Caryl Churchill, and Ntozake Shange—explores the body's modes of presence in contemporary drama. Drawing on work in areas as diverse as scenographic theory, medical phenomenology, contemporary linguistics, and feminist theories of the body, Garner addresses topics such as theatrical image, stage objects, dramatic language, the suffering body, and the staging of gender, all with a view toward developing a phenomenology of mise en scene.
Garner's approach is phenomenological, emphasizing perception and experience in the theatrical environment. His discussion of the work of playwrights after 1950-including Samuel Beckett, Eugene Ionesco, Peter Weiss, Harold Pinter, Sam Shepard, David Mamet, Edward Bond, Maria Irene Fornes, Caryl Churchill, and Ntozake Shange—explores the body's modes of presence in contemporary drama. Drawing on work in areas as diverse as scenographic theory, medical phenomenology, contemporary linguistics, and feminist theories of the body, Garner addresses topics such as theatrical image, stage objects, dramatic language, the suffering body, and the staging of gender, all with a view toward developing a phenomenology of mise en scene.
1989
Cohen, Hilary U
Theatre by and for the deaf Journal Article
In: TDR: The Drama Review, vol. 33, no. Spring, pp. 68-78, 1989, ISSN: 10542043.
Links | BibTeX | Tags: Deaf theatre
@article{Cohen1989,
title = {Theatre by and for the deaf},
author = {Hilary U Cohen},
url = {https://doi.org/10.2307/1145945},
doi = {10.2307/1145945},
issn = {10542043},
year = {1989},
date = {1989-01-01},
journal = {TDR: The Drama Review},
volume = {33},
number = {Spring},
pages = {68-78},
keywords = {Deaf theatre},
pubstate = {published},
tppubtype = {article}
}
1985
States, Bert O
Great reckonings in little rooms: on the phenomenology of theater Book
Berkeley:: University of California Press, 1985, ISBN: 0520908600, 9780520908604.
Abstract | Links | BibTeX | Tags: theatre, theatre space
@book{bert1985great,
title = {Great reckonings in little rooms: on the phenomenology of theater},
author = {Bert O States},
url = {https://books.google.com/books/about/Great_Reckonings_in_Little_Rooms.html?},
isbn = {0520908600, 9780520908604},
year = {1985},
date = {1985-01-01},
publisher = {Berkeley:: University of California Press},
abstract = {This is a book about the theater phenomenon. It is an extension of notes on the theater and theatergoing that have been accumulating for some time. It does not have an argument, or set out to prove a thesis, and it will not be one of those useful books one reads for the fruits of its research. Rather, it is a form of critical description that is phenomenological in the sense that it focuses on the activity of theater making itself out of its essential materials: speech, sound, movement, scenery, text, etc. Like most phenomenological description, it will succeed to the extent that it awakens the reader's memory of his own perceptual encounters with theater. If the book fails in this it will be about as interesting to read as an anthology of someone else's dreams. In any case, this book is less concerned with the scientific purity of my perspective and method than with retrieving something from the theater experience that seems to me worthy of our critical admiration.},
keywords = {theatre, theatre space},
pubstate = {published},
tppubtype = {book}
}
This is a book about the theater phenomenon. It is an extension of notes on the theater and theatergoing that have been accumulating for some time. It does not have an argument, or set out to prove a thesis, and it will not be one of those useful books one reads for the fruits of its research. Rather, it is a form of critical description that is phenomenological in the sense that it focuses on the activity of theater making itself out of its essential materials: speech, sound, movement, scenery, text, etc. Like most phenomenological description, it will succeed to the extent that it awakens the reader's memory of his own perceptual encounters with theater. If the book fails in this it will be about as interesting to read as an anthology of someone else's dreams. In any case, this book is less concerned with the scientific purity of my perspective and method than with retrieving something from the theater experience that seems to me worthy of our critical admiration.