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dc.contributor.authorDalgleish, Mat
dc.contributor.authorReading, Neil
dc.date.accessioned2017-11-24T09:18:10Z
dc.date.available2017-11-24T09:18:10Z
dc.date.issued2017-11-30
dc.identifier.citationDalgleish, M., & Reading, N. (2017). Soundtrack as Auditory Interface: Exploring an Alternative to Audio Description for Theatre, Reproduced Sound 2017: Sound Quality By Design, Institute of Acoustics Proceedings, 39(1)
dc.identifier.isbn9781906913281
dc.identifier.urihttp://hdl.handle.net/2436/620895
dc.descriptionConference paper presented at Reproduced Sound 2017 - Sound Quality by Design, organised by the Institute of Acoustics in collaboration with ISCE, AES, ABTT, APRS. - 21-23 November 2017 at Nottingham University
dc.description.abstractTheatre conventionally relies heavily on the visual, for instance to convey narrative and context, and to set the scene. This reliance can significantly hinder the experience of blind and visually impaired people, and can in some cases exclude them entirely. Audio description for theatre attempts to make performances accessible for blind and visually impaired patrons by translating the visual aspects of a performance into a spoken commentary that fits between the gaps in actors’ dialogue. However, while 40% of UK theatres have offered at least one recent audio-described performance,1 its methods remain largely untested and potentially problematic. We describe the use of an ambiently diffused soundtrack as an alternative to audio description for theatre as part of a recent research project at the University of Wolverhampton. Informed by conceptualisations of the soundtrack posed by theorist-composers Michel Chion and Stephen Deutsch, our approach is to use an assemblage of informative and emotive sounds to provide a kind of auditory interface or "way in" to the performance. Crucially, the soundtrack evokes and implies but, contrary to audio-description, does not enforce a single rigid or fixed interpretation. Additionally, use of the house sound reinforcement system also removes the need for specialised and potentially othering personal equipment. The remainder of this paper provides background to the project and related work, outlines the theoretical basis of the project, discusses two trial performances and initial findings, and finally offers suggestions for future work.
dc.description.sponsorshipUniversity of Wolverhampton Early Researcher Award Scheme (ERAS)
dc.formatapplication/pdf
dc.language.isoen
dc.publisherInstitute of Acoustics
dc.relation.urlhttps://www.ioa.org.uk/catalogue/paper/soundtrack-auditory-interface-exploring-alternative-audio-description-theatre
dc.sourceReproduced Sound 2017
dc.subjectaudio description
dc.subjecttheatre
dc.subjectvisual impairment
dc.subjectsoundtrack
dc.subjectsound design
dc.subjectChion
dc.subjectinterface
dc.titleSoundtrack as Auditory Interface: Exploring an Alternative to Audio Description for Theatre
dc.typeConference contribution
dc.identifier.journalReproduced Sound 2017
dc.conference.nameReproduced Sound 2017
pubs.finish-date2017-11-23
pubs.place-of-publicationNottingham, UK
pubs.start-date2017-11-21
dc.source.volume39
dc.source.issue1
dc.source.beginpage1
refterms.dateFOA2018-08-21T14:35:35Z
html.description.abstractTheatre conventionally relies heavily on the visual, for instance to convey narrative and context, and to set the scene. This reliance can significantly hinder the experience of blind and visually impaired people, and can in some cases exclude them entirely. Audio description for theatre attempts to make performances accessible for blind and visually impaired patrons by translating the visual aspects of a performance into a spoken commentary that fits between the gaps in actors’ dialogue. However, while 40% of UK theatres have offered at least one recent audio-described performance,1 its methods remain largely untested and potentially problematic. We describe the use of an ambiently diffused soundtrack as an alternative to audio description for theatre as part of a recent research project at the University of Wolverhampton. Informed by conceptualisations of the soundtrack posed by theorist-composers Michel Chion and Stephen Deutsch, our approach is to use an assemblage of informative and emotive sounds to provide a kind of auditory interface or "way in" to the performance. Crucially, the soundtrack evokes and implies but, contrary to audio-description, does not enforce a single rigid or fixed interpretation. Additionally, use of the house sound reinforcement system also removes the need for specialised and potentially othering personal equipment. The remainder of this paper provides background to the project and related work, outlines the theoretical basis of the project, discusses two trial performances and initial findings, and finally offers suggestions for future work.


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