NOTE: This abstract is based on a professional audio description experiment for two productions at Arena Stage in Washington, DC, USA. It does not follow a traditional research model but is rather a report of practical work in the field of live audio description for theatre. Live audio description can be made cost-effectively available at each performance of a performing arts production. This chapter will demonstrate how it is possible to create accessibility for blind theater-goers on a par with sighted audience members. Similarly, multiple language and sign interpretation can be made available at all performances of an event. In 1981, a formal audio description service—the world’s first—was begun under the leadership of a blind woman at The Metropolitan Washington Ear, a radio-reading service based in Washington, DC. Radio reading services still exist throughout the United States with the participation of volunteer readers; I began working as a volunteer reader at The Ear in 1972 and was proud to be a founding member of its audio description service. Radio reading services are heavily dependent on volunteers and The Ear’s audio description service was also structured around voluntary contributions of time and effort. Cognizant of the limits on the times of people who often maintain full-time employment elsewhere, audio description was conceived as a service that would be offered at only two performances of a theatrical run and preparation for the audio described performances was based on the observation of only two or three performances early in the run. It was understood that optimally audio description would be prepared with more in-depth observation of the theatrical event, even during rehearsals, and that audio described should be offered at every performance in the run of a show. But the limitation of the volunteer structure prohibited that arrangement. The proliferation of audio description for live theatrical events in the United States is based on this volunteer, limited preview/two-described-performances model. With support from the D.C. Aid Association for the Blind, the Audio Description Project of the American Council of the Blind proposed a more expansive audio description arrangement for two productions again at Arena Stage. We collaborated with Arena on the experiment: an audio describer attended rehearsals for each production, met with the stage director, actors, the designers (scenic, costumes, lighting, sound) and developed an audio description script throughout the three-week rehearsal period. The script was then available for that same describer to voice at every performance beginning with opening night and with, of course, an eye on stage action as minor changes in action could occur from performance to performance. The describer, essentially, was a “cast member”, attending every rehearsal and performance. The arrangement had two benefits over the traditional model of audio description development for live performance: time was available to carefully observe the theatrical process and construct descriptive language that was more thorough and considered; and people desiring the service could attend any performance with no advance notice and be assured of access to the visual aspects of the production. Other innovations included Braille and large-print programs, models of the set and props in the lobby, and a tactile “scrapbook” of costume pieces. It was gratifying to note that attendance for the productions by people using audio description tripled over levels experienced at Arena using the traditional volunteer model.
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Open Access
May 16, 2024
Issaoui Fakhri + 3
