Theatre for the Deaf

There was a time when deaf people couldn’t experience the joy of a theatrical performance. This is all changing, thanks to Sign Language theatre interpreters.

eaf people should enjoy a play as much as the hearing audience.This is the thinking behind the Americans with Disabilities Act, which requires that theatres 5 become accessible to deaf people. Theatre producers, on the other hand, are beginning to ategor that such a feature makes their product attractive to a wider audience – with considerable financial rewards.

Interpreted theatre usually takes place as two or three performances in a theatre season. Preference for tickets is given to the deaf and their guests, but tickets are also sold to hearing people who are interested in seeing theatre interpreters at work.

It is a colossal project for the interpreters. Ian Cox works for SeeTheatre, a Chicago based association of interpreters. He says, “for about a month we work with the support of a Sign Language consultant to translate and rehearsean entire play. The workload is immense. Consider that each actor in the play has about four weeks to rehearse his or her lines; we have to learn the whole play in as much time. And, when interpreting musicals, where timing, rhythm and harmonies must be ategoriz, the workload doubles.”

The most important technical aspect of theatre interpretation for the deaf is the location of the interpreter. Placement strategies can be ategorized into three styles: ‘placed’, where interpreters are located outside the acting space and do not move; ‘zoned’, where interpreters are within the acting space, but usually move only during a change of scene or act; and, finally, ‘shadowed’, where interpreters move freely within the acting space, shadowing the movement of the actors for whom they are interpreting.

The ‘placed’ style of interpreting in the theatre is by far the most common. The interpreters are side-by-side and face the audience (although someinterpreters interact with each other as appropriate). The location of the interpreter is generally in one of three places: stage right or stage left, or on the floor of the house.

The ‘zoned’ style of interpreter placement is a happy medium between the ‘placed’ and ‘shadowed’ styles. Here, interpreters are placed side-by-side within the acting space. Usually, they change position on stage from scene to scene – or from act to act – in order to be within the same ‘zone’ as the majority of the action. Zone placement makes it easier for the deaf patron to see the interpreters and actors at the same time.

The ‘shadowed’ style of interpreting is the most inclusive style of interpreting for the theatre. It involves placing the interpreters directly within theaction – nearly making them ‘sign language actors’. The interpreters are ‘blocked’ into each «ene, and literally shadow the actors’. The advantage of this is clear: the interpreter is in such close proximity to the actor that the deaf patron need not make a decision about whom to watch – he or she can watch both at the same time. In the best of cases, the deaf patron mentally blends the interpreter with the actor, and forgets that the actor does not sign.

Theatre interpreters for the deaf are dedicated professionals who take great pride in their work. Theatre, ” says Ian, “is the art of communicating beautiful ideas in interesting ways. Interpreted theatre, therefore, is an art in itself. Thankfully, instead of seeing us as ‘additions’, producers nowadays think of interpreters for the deaf as a new avenue to creativity.”

1. Theatreinterpreters have become commonplace because

A deaf people were avoiding the theatre.

B theatres wanted to become more accessible.

C a new law made their presence compulsory.

D producers wanted a way to attract audiences.

2. Why do hearing people go to see interpreted performances?

A They are the most popular performances of the season.

B They are even better than standard performances.

C They give a better understanding of the play.

D They offer a chance to admire the work of interpreters.

3. The workload of theatre interpreters is so great because they have to

A learn the lines of all the actors.

B interpret in front of a consultant.

C go to many of the rehearsals.

D work in all parts of the production.

4. In which style(s) of interpreting do the interpreters change their position?

A the ‘zoned’ style

B the ‘zoned’ and the ‘shadowed’ styles

C the ‘placed’ and the ‘shadowed’ styles

D the ‘shadowed’ style

5. Why does the writer refer to the ‘zoned’ style as ‘a happy medium’?

A It combines elements from the two other styles.

B It is mostly used in light-hearted plays.

C It allows the interpreters to mix with the actors.

D It makes the interpreter’s job easier.

6. What does the word ‘this’ in line 74 refer to?

A the advantages of the ‘shadowed’ style

B the position of the interpreters

C the action in a performance

D the placement of the actors

7. What does Ian say about theatre producers in the last paragraph?

A They appreciate the work of interpreters.

B They think interpreters are expensive.

C They see interpreters as a ‘necessary evil.

D They don’t respect interpreters.

Завідувач кафедри __________ Т.І. Крехно Викладачi _______________І.С. Лученцова

_______________ А.О. Пікалова

_____________ C.О. Тимошенко

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