PRACTICALITIES

International theatre, productions touring to far-off places, multilingual productions and surtitles, and access and accessibility are now integral parts of the theatre landscape in German-speaking countries. How do we work with them?

THE BASICS ON-STAGE TRANSFER

Theatre Translation

Theatre translators are literary translators, often with a background in theatre practice or a degree in theatre or translation studies. The art of theatre translation involves transferring the use of language in a particular play into another language. One of the main challenges it involves is analysing each character’s voice. This is challenging work, and you should always ask an experienced theatre translator to carry it out. Support is available here: • www.literaturuebersetzer.de/uevz/ • www.drama-panorama.com • or please contact theatre publishers and cooperatives, who all work closely with translators.

Multilingual Rehearsal Processes

One option for multilingual productions is for the cast and team to communicate in English. However, when developing the basic concept for the production, or during the final rehearsal phase etc., everyone should be able to speak in their own mother tongue, to avoid any unconscious power dynamics emerging. Good interpreters are able to provide simultaneous interpreting, are wellacquainted with each of the relevant theatre cultures, and can thus help to avoid any intercultural pitfalls. For this process, precise interpretation that does not distract from the director’s presence is extremely important. Support, for example for the simultaneous interpretating of opening speeches, is available from the International Association of Conference Interpreters (AIIC). If you require the assistance of an interpreter during your rehearsal process, we recommend searching for one in the database of the German-Speaking Literary and Academic Translators’ Union, the Verband deutschsprachiger Übersetzer:innen literarischer und wissenschaftlicher Werke (VdÜ). Alternatively, you could also contact translation studies and interpretation students, or interpreters in your community.

SURTITLING

When surtitling, the language spoken on stage, which was specifically written to be spoken out loud, must be adapted into a written form that must be readable within seconds, without however adulterating its style. This form of translation comes on top of the source language being spoken on stage, what is visible on stage, and the gestures and mimics of the actors. The aim is to ensure that the audience needs to read as little as possible and can look at the stage as much as possible. Because surtitles usually attract a lot of attention to themselves, it is essential that they are handled professionally: surtitles that are displayed unprofessionally or out of rhythm, or surtitles that include translation mistakes can have a very negative effect on a production – for the audience, but also for the artists involved.

TECHNICAL IMPLEMENTATION

Technically, surtitles are displayed using a projector, LED panels, Met Titles (small screens in the seats in front of each audience member), tablets, smartphones or smart glasses. The translation work involved mostly remains the same whatever the media used. Various software programmes can be used to generate surtitles. These include programmes that are free of charge, such as PowerPoint and Glypheo, or licensed programmes such as Easytitler, Spectitular, Torticoli, Maestro or VICOM. The most recently developed programmes are better adapted to the task of surtitling and easier to use. Support in this field is available from, among others: Subtext, Sprachspiel, Werkhuis, Maison Antoine Vitez, AMDA, Precott Studio, Panthea or Bürozwei.

INTERPRETING OF PRODUCTIONS

For productions that are very text-heavy, that use improvisation or whose set design does not allow for any projections, interpretation can be an appropriate option. Simultaneous interpreting requires the highest degree of concentration and a subtle understanding of what is happening on stage, and must absolutely be entrusted to professional theatre interpreters. It is usually advisable for audience members to wear headphones on one ear only, since they must also be able to register what is happening

on stage in parallel. Bone conduction headphones, which leave the ear open, are particularly well-suited to this purpose. Interpretation technology: should you have any questions regarding interpretation technology, there are various national and regional companies that rent out interpreting booths, including headphones and technical support. It is important to inform them about the conditions you will be using them in, which are specific to the theatre. For more information: Bondas, Irina: Theaterdolmetschen, Berlin: Frank & Timme 2013 and Griesel, Yvonne (ed.): Welttheater verstehen: Übertitelung, Übersetzen, Dolmetschen und neue Wege, Berlin: Alexander Verlag 2014.

Alternative Forms

Interpreting actors on stage. Translated texts that are learned off by heart. Translations summarising the play handed out before the performance. Shadow interpreters, who interpret behind the actors. Large areas of text as projected translations.

TOURING PRODUCTIONS

Often the host theatre or festival takes care of the translation and surtitling, which unfortunately frequently implies an increased risk of mistakes being made. An average-length production has on average between 800 and 1,500 surtitles. In order to ensure a smooth process for touring productions, you should bear in mind the following points: • If possible, insist that the production bring their own surtitlers with them. • Always use the existing surtitle matrix (the rhythmically correct, shortened surtitles generated in an appropriate software programme) as a template for any translation into additional languages. Should the matrix not be available in the original language being performed on stage, then you should use the original language script of the play as the basis for the translation itself. Translating via a third languages can lead to mistakes and can have Chinese-whisper-like effects. • If translators or surtitlers are provided by the host institution, they should be put into contact with the production team, so that both parties can work together on the translation. At the very least, the production team should ask to be shown the translation in advance of the opening night. • Make contact with the technical teams responsible for video and lighting at the host venue. • Check the set-up of the surtitle screens before the opening night, paying attention to the following aspects: any optical interference with the set design, maximum line length, height, brightness, colour, font, etc.

HOW ARE SURTITLES MADE

Surtitlers receive a DVD of the production and the script of the play. The script is compared to the DVD. If possible, the surtitler attends a performance before starting work. Translation of the text of the play using the script and DVD. Creation of the surtitle version (surtitle matrix). Adaptation of the titles to the rhythm of the play. Technical set-up in collaboration with stage technicians. Live surtitle rehearsals in the theatre (during at least two dress rehearsals and the final dress rehearsal). Multiple rounds of corrections, repeated adjustment of the surtitles to the rhythms of the actors’ speech, to the ideal reading speed, etc. Surtitles displayed on opening night. Evaluation of the opening night together with the director, making amendments as necessary. Improvement and adaptation of surtitles following every performance. Usually, you will have found your “inner surtitle matrix” by the third performance, so that the surtitles can be “breathed together” with any further performances.

ACCESSIBILITY

The UN Convention on the Rights of Persons with Dis-abilities has been in force in Germany since 2009, and is intended to enable equal participation in social life for people with disabilities. Germany has a lot of catching up to do in terms of such participation compared to other countries. Accessibility can be promoted by taking various basic measures. Many institutions are often already equipped with wheelchair ramps, lifts and audio induction loops. But theatres often still lack: • Audio description. • Sign language interpreters (to the side of the stage, or as a shadow interpreter on stage). • Captions (surtitles tailored to the needs of hearingimpaired audience members and which can be turned on optionally using Met Titles, apps or AR glasses). • Surtitling into spectators’ mother tongues that is clearly visible and thus can be used as a support by other groups of audience members (older audiences, slightly hearing-impaired individuals). • Accessible language, for example in the programme.

Support is available from:

Consultancy from companies specialised in surtitling, such as for example Audioscript, Hoerfilm, Stagetext and many others. Consultancy from professional associations of sign language interpreters.

"WHAT DO SURTITLES IN THE THE ATRE MEAN TO YOU?"

"Theatres with surtitles activate my imagination. Surtitles offer variations to the performance, which can be surpassed or undermined, confirmed or refuted at any moment. If the show offers surtitles, it allows me to participate in three moments at the same time: before the action, in the action, after the action, and what’s coming is already prepared. A performance that is surtitled or interpreted with sign language is theatre in five dimensions for me, instead of the usual four."

Ute Scharfenberg was Head Dramaturge at the Theater Magdeburg and Hans Otto Theater Potsdam until 2018. She currently works as a lecturer in Production Dramaturgy at the University of Toronto and as a production dramaturge at the Canadian Stage Company.