Abstract
Audio Introductions (AI) consist of a brief description of the plot, history and technical aspects of an audiovisual product and are generally presented at the beginning of an operatic event. Despite their prevalence, literature related to the elaboration of AI in audio description (AD) guidelines is scarce. Continuing the investigation carried out by the research group Transmedia Catalonia in the field of AD for opera, this article focuses on the role of AI in opera, not only as an access service for the blind and visually impaired audience, but also for all audience members.Furthermore, a template for AIs is put forward, in which the contents that AIs should cover for the appropriate presentation of the information relevant to the opera are detailed and explained. The article delves into these contents and underscores their importance for enhancing the experience of the opera for both the visually impaired and the general audience. The creation and distribution of a template draws attention to the potential of standardisation of this access service.The article is based on the analysis of a template used at the Gran Teatre del Liceu of Barcelona by the audio describer, also a co-author of the article, employed in the production of AIs throughout the opera season 2016/17. The creation of AIs by means of the template improved the work flow by providing a clear understanding of the topics to be covered beforehand and by outlining the time constraints during the live performance on the contents.
Highlights
Audio Introductions (AI) consist of a brief description of the plot, history and technical aspects of an audiovisual product and are generally presented at the beginning of an operatic event
The outcomes and conclusions of previous research in this Catalan opera house led to new approaches to opera audio description (AD)
Their chapter mentions the possibilities of such audio excerpts, which can be uploaded online and made available for sighted audiences as well
Summary
Some opera houses and theatres across the globe ─other than the Gran Teatre del Liceu─ offer audio-described sessions for people with specific needs Such is the case of the Opera North, in Nottingham; the Royal Opera House and the English National Opera established in the London Colisseum, both in London; the Spanish Teatro Real in Madrid; the Sferisterio di Macerata, adapted as opera house during the Macerata Opera Festival; or the Ópera National de Paris. Standardisation could entail some drawbacks, such as the fact that AI could be perceived as monotonous or with a lack of creativity, the template only aims at structuring and limiting the contents so as to fit timings in a live opera event and facilitate the work of the audio describer It is not a strict and fixed proposal, but a skeleton from which contents can adapt to the specific operatic event and venue
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