Art—it is a visual form of expression that satisfies our thirst for entertainment, and opens our minds to more picturesque ways of learning. It is the product of human creativity. From paintings, sculptures, and pictures to a massive theatrical production, “the Arts are essential to leading a full and productive life” (Timm 2001). Damon Timm, writer of “Performing Arts Interpreting: Qualification, Recognition, and Betterment Through Education” states that all members of society should have an equal opportunity to experience the performing arts (2001). Stemmed from that is the question: how does the Deaf population gain equal access? The answer is not captioning or assisted listening devices, but instead the utilization of interpreters who have specialized training in the interpretation of the performing arts.
Interpreting, in general, is a complex task that requires specialized training and years of experience to fully grasp. The interpreter who works with the performing arts has to be aware of many different things when she walks into a job: text analysis—or the translation of the English source text into ASL for which she should have extensive training, logistics—the lighting, where she is supposed to stand, etc., and full involvement from the very beginning, all the way from the initial design of the performance, to ensure that it all flows smoothly. A deaf consultant, or “director,” is also helpful to provide unattached feedback through the “Deaf Eye” (Timm 2001). Furthermore, according to Chloe Veltman, writer of “Sign of the Times,” the interpreter should not only be fluent in ASL, but also should have previous experience in acting, and be familiar with standard theatre practices (2004). There are many things that need to be considered before one accepts a job in this arena, and any interpreter who accepts such a job must be highly qualified in order to do a performance justice.
The field of interpreting the performance arts is a relatively new one; it is not well established and researched like in medical or legal settings. In fact, where medical, legal, and educational settings have their own special tests and certifications, interpreting for the performing arts does not. In 1979, RID created a Specialized Certificate for the Performing Arts (SC: PA). That test, however, was the first and last of its kind, leaving only ten people who are certified in this setting today. Below is a timeline, including a few important events that happened in the history of American Sign Language/English interpreting for this setting:
As you can see, there is not much history that has to do with the interpreting field for theatrical performances. Why do you think that is? Well, there are many issues with the field of interpreting, especially for interpreters who are interested in working in the performing arts settings. One of the problems is that there is not enough funding for both the training of interpreters in this area, and the utilization of such interpreters at the actual events. Timm asserts that today’s economy is not willing to support such “entertainment,” even though it is a necessary part of today’s society (2001). Another issue that ties in with that is the Americans with Disabilities Act (ADA). There is still a huge debate on what is meant by “equal access” and “public accommodation,” which is proving to be a roadblock for the field of interpreting. Because of these two problems there are not enough qualified interpreters for the job.
Currently, there are several organizations, such as, the National Technical Institute for the Deaf (NTID), and Massachusetts Commission for Deaf and Hard of Hearing (MCDHH) that recognize this problem. Those organizations are trying to find a solution. The MCDHH is trying to boost funding to increase the number of interpreted events, enhance the number of qualified interpreters through workshops and retreats to work at such events, and are working towards developing a referral and screening method for future (possibly certified) interpreters. Another goal of the MCDHH is to increase interpreter awareness, so that their services might be better known (Timm 2001).
Another organization called the Signed Language Associates (SLA) is also trying to fix the current issues regarding interpreting the performing arts. The SLA was founded in 1982 by one of the only ten people to hold the SC: PA certification—Janet Bailey. Her, and eight other interpreters, pioneered the field of interpreting in this setting. The SLA’s Cultural Awareness Program (CAP) provides access to the best interpreters worldwide. Today, there are 119 interpreters (76% are certified), and over 200 qualified part-time interpreters (SLA). One thing that the SLA has that most other organizations do not is a mentoring program, which last 12-16 weeks. This program is a paid mentorship program, and can provide exposure to any setting of the interpreting field, as well as productive feedback from already certified interpreters. According to the website, the SLA mentoring program can act as the “bridge between an ITP and the professional world of interpreting” (SLA).
Click here for a link to their application
I believe that soon there will be a breakthrough for the field of interpreting in theatrical settings. I am hopeful that funding will increase with the recognition these organizations are trying to yield. I know that many consumers, d/Deaf and hearing alike, will benefit from these services.
Ever since I saw the interpretation of the play “The Mystery of Edwin Drood,” here at Western Oregon University, I knew I had to find out more about interpreting the performing arts. The interpretation was beautiful, captivating, and any other descriptive words that can possibly portray just how amazing it was to me. I am intrigued, and want to know more. Right now, I know that I only have a short history with the arts. I have taken three or four acting classes, but my knowledge of the performance arts does not extend past that. I am also only now learning the processes of interpreting, and know that I will not be good enough for interpreting the performing arts until I have at least a few years under my belt. In the future, I plan to take more acting classes, and I also plan to get more practice with translation projects. With more experience and better training, I will someday be able to interpret the performing arts.
Resources:
Timm, Damon. "Performing Arts Interpreting: Qualification, Recognition, and
Betterment through Education." American Sign Language Interpreting
Resources, 12 December 2001.
<http://asl_interpreting.tripod.com/misc/dt1.htm>. 16 March 2008.
Most of the information above was taken from Damon Timm's article on Performing Arts Interpreting. He touches upon the different issues involved with this particular setting: the complexities, demands, and difficulties of this type of interpreting, and how we should better educate future interpreters.
Veltman, Chloe. "Sign of the Times." Theatre: Bay Area. 2004.
<http://theatrebayarea.org>
Sign Language Associates (SLA): www.signlanguage.com/clients/access.php
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