Bilingual Theatre - BSL and English Chris Grady, 10 January 2016 A rich discussion covering much ground attended by deaf artists, deaf access organisations, BSL interpreters, and companies seeking an integrated script/performance accessible to all audiences (deaf and hearing). Present were: Paul Mooney, Claire Woolard, James Mavarney, Dawn & Sarah - interpreters with their own voices too, Sarah-Louise Young, Uzma Kazi, Mary Jayne, Rachael V, Dawn Baker, Callum Madge, Nazli Tabatabay - Khatambauhsh. I will email you all, hoping I can read the writing. Reason for the session - what's happening ?, what's needed ?, and connecting people who are at the session and might follow. Notes from the session: *More signing actors would be great, allowing for more integration bilingually, and less interpreter on a wooden box standing at side of stage in spotlit isolation * Want companies to be doing integrated bilingual musicals, allowing for the poetry that is possible in both languages. * Remember that the deaf audience might not like the interpreter - and that may be a reason they don't go see the show. Working with deaf mentors, and advisors who really know their community can help a hearing theatre manager or director to engage the right interpreter. * Remember that loads of deaf actors want to be involved in the widest range of theatre, and there is a very strong local community of actors - no need to ship them in from London all the time. * The only person, often, who has full-access is the interpreter - because they are truly bilingual, and has the advantage of being prepared in both languages through rehearsal and reading. * Remember the interpreter is meant to take on the character, the feel, the voice, the accent of the character on stage. This takes a lot of preparation. Involving them early is a real advantage. * In an ideal world bring the interpreter into the process at the very start, so they help to shape the two languages as part of the rehearsal and development process. * A signed performance is still seen as an add-on often (although getting better and more integrated in certain productions). ACE and Creative Scotland welcome invitations to fund a fuller bilingual approach. * Need to reach out to the deaf community and really sell - and this is best done by other members of that community. * What about more involvement with the two languages at drama school and university theatre training. Bristol and Reading used to be good examples of good connection, but they are both gone now. * Scottish Conservatoire has a deaf theatre skills course - there are probably more shining examples, please add them to these notes. * In opera and musicals there may be 3-4 or more vocal lines happening at the same time. Often the interpreter has to make a choice of which to sign, because they can't sign more than one person at a time. Ideally this is in conjunction with the director, so the best emphasis and communication can happen for the audience. Companies and projects which were mentioned include: Zendah - Newcastle NPO Pad Productions - Derby Red Earth - Oliver Twist on the road at the moment DE Drama - West Midlands Deaf Explorer - supporting deaf practitioners WMidlands Graeae Unspoken Access Scottish Theatre Guide Birds of Paradise with a show Wendy Hoose James Varney's Macbrew with 1623 Theatre Co Derby Personal Questions ?? Is it wrong to ask interpreters to audition, and have a cv with resume and references - just as you would an actor. I might be employed to play Hamlet, but no-one would want to watch me. Where is the Olivier or Maxine Peake or interpreters. ?? Which of the major funded theatre companies might be encouraged to develop a richer seem of bilingual integrated theatremaking, to widen the audience for popular theatre in BSL. ?? How about the UK equivalent of Deaf West - a commercial bilingual big scale musical playing to the broadest West End audience including those who understand BSL. My thanks to all involved in the discussion, and for the whirling fingers and hands of Dawn and Sarah, who of course have to work twice as hard as the rest of us lot. Cheers Chris Tags: Theatre, bilingual, Access, access, bsl, BSL, signing, musicals, THEATRE, deaf, interpreters, theatre