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Advisor(s)
Abstract(s)
A audiodescrição (AD) é um recurso de acessibilidade no âmbito dos Estudos de Tradução
Audiovisual, que favorece o acesso à informação visual por parte do público cego com
deficiência visual, mas que pode ser igualmente utilizado por pessoas normovisuais. Tendo uma
origem informal, em que o objetivo seria descrever e narrar os acontecimentos que rodeavam
as pessoas com esta deficiência, este recurso começou a ser utilizado no cinema e mais tarde
alargou o seu âmbito para televisão, artes performativas, espaços históricos e museológicos,
assim como outras atividades de lazer e cultura. O presente trabalho tem o objetivo de
compartilhar a nossa experiência de AD ao vivo na exibição de uma peça de teatro, “O Amor é
para os fortes” (direção artística Leonor Afonso e Mara Correia, 2019), produzida pelos alunos de
artes do Instituto Politécnico de Bragança. Para a concretização deste trabalho, foi necessário
obedecer a diferentes etapas que são, por norma, cumpridas pelos audiodescritores de artes
performativas: assistir aos ensaios, elaborar vários rascunhos do guião, fazer ajustes do tempo
das intervenções com o desenvolvimento da peça no ensaio geral e, por fim, descrever a peça
ao vivo, adaptando-nos à pressão do tempo, às improvisações dos atores e aos imprevistos
técnicos que foram surgindo no decorrer do espetáculo. Concluindo, o objetivo do trabalho
é refletir sobre as etapas acima descritas, confrontando a nossa perceção do produto final
com a reação do grupo de controlo, constituído por pessoas com e sem deficiência visual, que
participaram nesta experiência.
Audiodescription (AD) is an accessibility resource within Audiovisual Translation Studies that encourages the access to visual information by patrons with visual impairment, although it can also be beneficial for viewers. Having had an informal outset that aimed to describe and narrate the events occurring around the people with this impairment, this resource began being used in the cinema and later extended its range to include television, performing arts, historical and museum spaces, as well as other leisure and culture activities. This paper intends to share our live AD experience in the theatre play “O Amor é para os fortes” (artistic direction by Leonor Afonso and Mara Correia, 2019) that was produced by the art students of the Polytechnic Institute of Bragança. In order to conduct this experience, we had to comply with different stages that are, by rule of thumb, followed by performing arts audiodescribers: attend the rehearsals, create various drafts of the AD script, adjust the time for our interventions with the development of the play in the dress rehearsal and, at last, describe the play live, making the necessary adaptations to time pressure, actors’ improvisations and technical unforeseen incidents that happened throughout the show. To sum up, the aim of this paper is to reflect upon the stages mentioned above and challenge our perceptions of the final product with those of the control group made up of blind people and viewers that were part of this experience.
Audiodescription (AD) is an accessibility resource within Audiovisual Translation Studies that encourages the access to visual information by patrons with visual impairment, although it can also be beneficial for viewers. Having had an informal outset that aimed to describe and narrate the events occurring around the people with this impairment, this resource began being used in the cinema and later extended its range to include television, performing arts, historical and museum spaces, as well as other leisure and culture activities. This paper intends to share our live AD experience in the theatre play “O Amor é para os fortes” (artistic direction by Leonor Afonso and Mara Correia, 2019) that was produced by the art students of the Polytechnic Institute of Bragança. In order to conduct this experience, we had to comply with different stages that are, by rule of thumb, followed by performing arts audiodescribers: attend the rehearsals, create various drafts of the AD script, adjust the time for our interventions with the development of the play in the dress rehearsal and, at last, describe the play live, making the necessary adaptations to time pressure, actors’ improvisations and technical unforeseen incidents that happened throughout the show. To sum up, the aim of this paper is to reflect upon the stages mentioned above and challenge our perceptions of the final product with those of the control group made up of blind people and viewers that were part of this experience.
Description
Keywords
Tradução audiovisual Audiodescrição Inclusão Deficiência visual Artes performativas
Citation
Casca, Joana; Baia, Leila Lacerda; Martins, Cláudia (2020). A audiodescrição nas artes performativas: caso prático no Teatro de Bragança. In Alexia Dotras Bravo; Ana Maria Alves; Cláudia Martins; Dominique Guillemin; Elisabete Mendes Silva; Isabel Chumbo (Eds.) III Colóquio Internacional de Línguas Estrangeiras (CILE): livro de atas. Bragança, Instituto Politécnico. p. 173-187. ISBN 978-972-745-284-2
Publisher
Instituto Politécnico de Bragança