Accessible scenic arts and Virtual RealityA pilot study with aged people about user preferences when reading subtitles in immersive environments
- Oncins, Estella 1
- Bernabé, Rocío 2
- Montagud, Mario 3
- Arnáiz Uzquiza, Verónica 4
- 1 Universitat Autònoma de Barcelona, España
- 2 University of Applied Languages, Alemania
- 3 Fundació i2cat, España
- 4 Universidad de Valladolid, España
- Richart Marset, Mabel (coord.)
- Calamita, Francesca (coord.)
ISSN: 1889-4178, 1989-9335
Argitalpen urtea: 2020
Zenbakien izenburua: Translation and Media Accessibility: from Theory to Practice
Zenbakia: 12
Orrialdeak: 214-241
Mota: Artikulua
Beste argitalpen batzuk: MonTI: Monografías de traducción e interpretación
Laburpena
The technological advancements in virtual reality and other forms of immersive content such as 360º video are triggering the concept of liveness in the scenic arts, and deserve in-depth consideration in audiovisual translation studies. The reception of subtitles in this new VR-based media needs to be studied. In the specific field of media accessibility, accessibility in immersive media much research needs to be done. This article explores the preferences of two subtitle options: Subtitles for the D/deaf and hard-of-hearing and Easy-to-Read in a 360º video of Roméo and Juliette the opera, played at the Gran Teatre del Liceu during the 2017/2018 season. A pilot study was prepared and conducted with the aim of determining which subtitling options are preferred by users aged between 50 and 79.
Erreferentzia bibliografikoak
- Agulló, Belén; Mario Montagud & Isaac Fraile. (2020) “Making interaction with virtual reality accessible: rendering and guiding methods for subtitles.” AI EDAM (Artificial Intelligence for Engineering Design, Analysis and Manufacturing) 33:4. Electronic version: https://ddd.uab.cat/pub/artpub/2020/203753/AIEDAM_-_Article_Agullo_Montagud_Fraile_-_PREPRINT_VERSION.pdf
- Agulló, Belén; Pilar Orero & Anna Matamala. (2018) “From disabilities to capabilities: testing subtitles in immersive environments with end users.” Hikma 17, pp. 195-220. Electronic version: https://www.uco.es/ucopress/ojs/index.php/hikma/article/view/11167
- Alba Rodríguez, Teresa. (2014) “Traducción audiovisual accesible a personas con discapacidad intelectual mediante el uso de subtítulos adaptados.” Estudios de Traducción 4, pp. 199-209. Electronic version: https://revistas.ucm.es/index.php/ESTR/article/viewFile/45376/42696
- Arnáiz-Uzquiza, Verónica. (2012) “Los parámetros que identifican el Subtitulado para Sordos. Análisis y clasificación.” In: Agost Canós, Rosa; Pilar Orero & Elena Di Giovanni (eds.) 2012. MonTI. Monografías de Traducción e Interpretación 4, pp. 103-132. Electronic version: http://www.erevistes.uji.es/index.php/monti/article/view/1590/1334
- Audience Agency. (2017) “National Classical Music Audiences. An analysis of Audience Finder box office data for classical music events 2014-2016.” Electronic version: https://www.theaudienceagency.org/asset/1303
- Auslander , Philip. (2012) “Digital liveness. A Historico-Philosophical Perspective.” PAJ: A Journal of Performance and Art 34:3, pp. 3-11. Electronic version: http://raley.english.ucsb.edu/wp-content/Engl800/Auslanderdigital-liveness.pdf
- Bartoll, Eduard. (2004) “Parameters for the classification of subtitles.” In: Orero, Pilar (ed.) 2004. Topics in audiovisual translation. Amsterdam: John Benjamins, pp. 53-60.
- Bartoll, Eduard. (2008) Paràmetres per a una taxonomia de la subtitulació. Ph.D. thesis. Barcelona: Universitat Pompeu Fabra. Electronic version: https://www.tdx.cat/handle/10803/7572
- Bernabé, Rocio & Pilar Orero. (2019) “Easy to Read as Multimode Accessibility Service.” Hermeneus 21. (In press)
- Bonwit, Stuart. (1998) “Mac at the opera.” Washington Apple Pi Journal, May/June 1998, p. 30. http://www.wap.org/journal/surtitles/surtitles.html
- Burton, Jonathan. (2009) “The joy of opera. The art and craft of opera subtitling and surtitling.” In: Kemble, Ian (ed.) 2009. The Changing Face of Translation. Proceedings of the 8th Portsmouth Translation Conference 2008, pp. 29-34. Electronic version: http://www2.port.ac.uk/media/contacts-and-departments/slas/events/tr08-burton.pdf
- Burton, Jonathan. (2001) Writing surtitles. Unpublished paper provided by the author and written for the Royal Opera House, Covent Garden, pp. 1-17.
- Burton, Jonathan & Amanda Holden. (2005) “Oper Übersetzen”, Die Horen. Zeitschrift für Literatur, Kunst und Kritik, 218: 124.
- Carlson, Marvin. (2006) Speaking in Tongues: Languages at Play in the Theatre. Michigan: University of Michigan Press.
- Chaume, Frederic. (2018) “An overview of audiovisual translation: Four methodological turns in a mature discipline.” Journal of Audiovisual Translation 1, pp. 40-63. Electronic version: https://www.jatjournal.org/index.php/jat/article/view/43/3
- Desblache, Lucile. (2019) How is Music Translated? Mapping the Landscape of Music Translation. Music and Translation. London: Palgrave Macmillan.
- Desblache, Lucile. (2018) “From minor to major: Accessing marginal voices through music. New ways for translation?” In: Lewandowska-Tomaszczyk, Barbara (ed.) 2018. Contacts & Contrasts: Languages, Translation and Educational Contexts. Cham: Springer, pp. 143-155.
- Desblache, Lucile. (2017a) “Music Translation.” In: Sin Wai, Chan (ed.) 2017. An Encyclopaedia of Practical Translation and Interpreting. Hong Kong: The Chinese University Press.
- Desblache, Lucile. (2017b) “Music.” In: Washbourne, Kelly & Ben van Wyke (eds.) 2017. The Routledge Handbook of Literary Translation. London: Routledge, pp. 282-296.
- Desblache, Lucile. (2007) “Music to my ears, but words to my eyes?: Text, opera and their audiences.” Linguistica Antverpiensia, New Series 6, pp. 155-170.
- Dewolfe, Linda. (2001) “Surtitling operas. With examples of translations from German into French and Dutch.” In: Gambier, Yves & Henrik Gottlieb (eds.) 2001. (Multi)Media translation, concepts, practices and research. Amsterdam: John Benjamins, pp. 179-188.
- Díaz Cintas, Jorge & Aline Remael. (2007) Audiovisual Translation: Subtitling. Manchester: St. Jerome.
- Espasa, Eva. (2000) “Performability in translation: Speakability? Playability? Or just saleability?” In: Upton, Carole-Ann (ed.) 2000. Moving target. Theatre. Translation and cultural relocation. Manchester: St. Jerome, pp. 49-62.
- Ezpeleta, Pilar. (2007) Teatro y traducción. Aproximación interdisciplinaria desde la obra de Shakespeare. Madrid: Cátedra.
- Eardley-Weaver , Sarah. (2014a) “Opera (Sur)titles for the Deaf and the Hard-of-Hearing.” In: Díaz Cintas, Jorge; Josélia Neves & Diana Sanchez (eds.) 2014. Audiovisual Translation - Taking Stock. Amsterdam & New York: Rodopi, pp. 261-277.
- Eardley-Weaver , Sarah. (2014b) Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Ph.D. Durham University. Electronic version: http://etheses.dur.ac.uk/10590/
- Eardley-Weaver , Sarah. (2013) “Opening Eyes to Opera: the Process of Translation for Blind and Partially-sighted Audiences.” In: Ehrensberger-Dow, Maureen; Birgitta Englund Dimitrova; Severine Hubscher Davidson & Ulf Norberg (eds.) 2013. Describing Cognitive Processes in Translation: Acts and Events. Amsterdam: John Benjamins, pp. 125-145.
- Eardly-Weaver , Sarah. (2010). “Opening Doors to Opera: the Strategies, Challenges and General Role of the Translator.” InTralinea Vol. 12. Electronic version: http://www.intralinea.org/archive/article/Opening_doors_to_opera_
- Eugeni, Carlo. (2006). “Il sopratitolaggio. Definizione e differenze con il sottotitolaggio.” Intralinea, Vol. 8. Electronic version: http://www.intralinea.org/archive/article/il_sopratitolaggio
- Gorlée, Dinda L. (2005) Song and Significance: Virtues and Vices on Vocal Translation, Amsterdam & New York: Rodopi.
- Greco, Gian Maria. (2016) “On Accessibility as a Human Right, with an Application to Media Accessibility.” In: Matamala, Anna & Pilar Orero (eds.) 2016. Researching Audio Description. London: Palgrave Macmillan, pp. 11-33.
- Griesel, Yves. (2009) “Surtitling: Surtitles another hybrid on a hybrid stage.” TRANS 13, pp. 119-127.
- Griesel, Yves. (2005) “Surtitles and translation towards an integrative view of theater translation.” MuTra 2005 Challenges of Multidimensional Translation: Conference Proceedings, pp. 1-14. Electronic version: http://euroconferences.info/proceedings/2005_Proceedings/2005_Griesel_Yvonne.pdf
- Hughes, Sally; Kathryn Warren-Norton; Pat Spadafora & Lia E. Tsotsos. (2017) “Supporting Optimal Aging through the Innovative Use of Virtual Reality Technology.” Multimodal Technologies Interact 4:23, pp. 2-7.
- Huygelier, Hanne; Brenda Schraepen; Raymond van Ee; Vero Vanden; Abeele & Céline R. Gillebert. (2019) “Acceptance of immersive head-mounted virtual reality in older adults.” Scientific Reports 9. Electronic version: https://www.nature.com/articles/s41598-019-41200-6.pdf
- Inclusion Europe. (2016) “Information for all. European standards for making information easy to read and understand.” Electronic version: https://easyto-read.eu/european-standards/
- Kaindl, Klaus. (1997) “Die Übersetzung als Inszenierung: Ein interdisziplinärer Rahmen zur Analyse von Opernübersetzungen.” Target 9:2, pp. 271-287.
- Low, Peter. (2017) Translating Song: Lyrics and Texts. London: Routledge.
- Low, Peter. (2002) “Surtitles for opera. A specialised translating task”. Babel 48:2, pp. 97-110.
- Matamala, Anna & Pilar Orero. (2008) “Opera Translation: An Annotated Bibliography.” Translator 14:2, pp. 427-451.
- Matamala, Anna & Pilar Orero. (2007) “Accessible Opera: Overcoming Linguistic and Sensorial Barriers.” Perspectives 15:4, pp. 262-278.
- Mateo, Marta. (2007a) “Surtitling nowadays: new uses, attitudes and developments.” Linguistica Antverpiensia, New Series 6, pp 135-154.
- Mateo, Marta. (2007b) “Reception, text and context in the study of opera surtitles.” In: Gambier, Yves; Miriam Shlesinger & Radegundis Stolze (eds.) 2007. Doubts and directions in translation studies. Amsterdam: John Benjamins, pp. 169-182.
- Mateo , Marta. (2002) “Los sobretítulos de ópera: dimensión técnica, textual, social e ideológica.” In: Sanderson, Jan (ed.) 2002. Traductores para todo. Actas de las III Jornadas de doblaje y subtitulación. Alicante: Universidad de Alicante, pp. 51-73.
- Mateo, Marta. (2001) “Performing musical texts in a target language: The case of Spain.” Across Languages and Cultures 2:1, pp. 31-50.
- Mele-Scorcia, Antonia. (2018) “Surtitling and the audience: A love-hate relationship.” Jostrans 30. Electronic version: https://www.jostrans.org/issue30/art_mele.pdf
- Neves, Josélia. (2010) “Music to my Eyes... Conveying Music in Subtitling for the Deaf and the Hard of Hearing.” In: Bogucki, Lukasz & Krzysztof Kredens (eds.) 2010. Perspectives on Audiovisual Translation, Lodz Studies in Language. Frankfurt am Main: Peter Lang, pp. 123-146.
- Oncins, Estella. (2015) “The tyranny of the tool: surtitling live performances.” Perspectives: Studies in Translatology 23:1, pp. 42-61.
- Oncins, Estella. (2014). Accessibility for the scenic arts. Ph.D Thesis. Universitat Autònoma de Barcelona. Electronic version: https://www.tdx.cat/handle/10803/133314
- Redzioch-Korkuz, Anna. (2018) “Constraints on Opera Surtitling: Hindrance or Help?” Meta 63:1, pp 216-234.
- Redzioch-Kork uz, Anna. (2015) “Media Accessibility and opera in Poland.” In: Bogucki, Lukasz & Mikolaj Deckert (eds.) 2015. Accessing Audiovisual Translation. Frankfurt am Main: Peter Lang, pp. 149-162.
- Rober ts, Amy R.; Bob De Schutter, Kelley Franks & M. Elise Radina. (2018) “Older Adults’ Experiences with Audiovisual Virtual Reality: Perceived Usefulness and Other Factors Influencing Technology Acceptance”. Clinical Gerontologist 42:1, 27-33, DOI: 0.1080/07317115.2018.1442380
- Romero -Fre sco, Pablo. (2018). In support of a wide notion of media accessibility: Access to content and access to creation. Journal of Audiovisual Translation, 1(1), 187-204.
- Schöne, Benjamin; Marlene Wessels & Thomas Gruber. (2017) “Experiences in Virtual Reality: a Window to Autobiographical Memory.” Current Psychology Research 106:3, pp. 1-5.
- Secara, Alina. (2018) “Surtitling and Captioning for Theatre and Opera.” In: Pérez González, Luis (ed.) 2018. The Routledge Handbook of Audiovisual Translation, New York: Routledge, pp. 130-144.
- Silveira, Jason M. & Frank M. Diaz. (2012) “The effect of subtitles on listeners’ perceptions of expressivity.” Psychology of Music 42:2, pp. 233-250.
- Snell-Hornby, Mary. (2007) “Theatre and Opera Translation.” In: Kuhiwczak, Piotr & Karin Littau (eds.) 2007. A companion to translation studies, Multilingual Matters. Clevedon: United Kingdom, pp. 106-119.
- UN. (2015a) “World Population Ageing 2015: Highlights”. Electronic version: https://www.un.org/en/development/desa/population/publications/pdf/ageing/WPA2015_Highlights.pdf
- UN. (2015b) “Ageing and disability.” Electronic version: https://www.un.org/development/desa/disabilities/disability-and-ageing.html
- Vervecken, Anika. (2012) “Surtitles: Types and functions.” In: Silvia Bruti & Elena Di Giovanni (eds) 2012. Audiovisual translation across Europe. An ever-changing landscape. New Trends in Translation Studies Vol. 7. Berlin: Peter Lang.
- Virkk unen, Rita. (2004) “The source text of opera surtitles.” Meta 49:1, pp. 89-97.
- W3C WORLD WIDE WEB CONSORTIUM. (2018) “Older Users and Web Accessibility: Meeting the Needs of Ageing Web Users.” Electronic version: https://www.w3.org/WAI/older-users/#background