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November 10, 2011, 12:00 pm Theater Talkback: The Writing's on the Wall By BEN BRANTLEY. " ... my greatest exposure to supertitles comes from seeing plays that were performed entirely in languages other than English. One of the privileges of having my job and being in New York City is that so many productions from all over the world visit here. (...) without supertitles I would have missed what was being said altogether in productions that were performed in Russian, Belarussian, German, Japanese, Greek, Arabic and Zulu, among others. Though they serve the same function, supertitles in the theater are different in their effect from subtitles in film. A movie (or television or computer) screen is a self-contained space, and the subtitles generally appear within that frame. Even if I haven't seen a foreign film in a while, I find that when I do, it's only a matter of minutes before I make the adjustment that allows me to feel I'm "listening" directly as I read. Supertitles for plays are usually projected on separate screens, above or to the side of the stage. And if the stage is large, your eyes are forced to leave the live action to read the words. (...) You are forced, in these cases, to make a choice between word and image, which isn't really fair to a work of theater that is ideally a melding of both. (I don't have that problem with opera, partly because a single sentence - like "I love you" - may be stretched out and repeated to cover acres of music.) And of course when certain infelicities of translation occur, you can be jerked abruptly from the internal reality of the play. ..."

Mentioned by Lauren Storck in a Google group discussion.

Thread started Nov 10, 2011. In the private CCAC google group, hence only viewable to members who are signed in.

About http://artsbeat.blogs.nytimes.com/2011/11/10/theater-talkback-the-writings-on-the-wall/

"(...) Theater and cultural events no longer need to be off limits to patrons who are deaf or have a hearing loss. Open captioning provides accessibility to individuals who otherwise may not attend theatrical or cultural events due to their hearing loss. It is a service that can and should be provided on a regular basis at all events. Oftentimes, as an aging population experiences a hearing loss, activities they once enjoyed, such as an evening at the theatre, become a source of frustration when the words and lyrics become indecipherable. They no longer attend theatrical events and often develop an isolated and withdrawn lifestyle. (People of all ages have hearing loss also.) (...) Prepared for the CCAC by TRCS Turner Reporting & Captioning Services, Inc. (..) "

"When considering captioning in the performing arts, there are two things to keep in mind: 1) Captioning is not the same as opera surtitles (or supertitles). Surtitles are highly synopsized, carefully edited translations of what is being sung. Captioning is a word-for-word transcription of what the performers are saying or singing as well as sound cues like "phone rings", "knock at door", or "classical music". 2) Captioning for live theater targets people whose hearing loss is too severe to benefit from the use of assistive listening devices and who don't use or know sign language. The following should help you research how to offer captioning at your venue."

"Open captioning is visible to all and cannot be turned off. Closed is when you or someone else must find the control and turns it on, be it for videos online, movies/cinema, theater, other media.. Problems with closed captions (compared to open captioning For all) include the following: a. It's often very difficult to find how to turn on the cc - systems vary so much online. b. Millions do not know it's there at all. c. We have a huge issue of communication access for all across the country (and globally). We suggest continuing education and advocacy for inclusion of much more captioning universally (e.g. on all videos online). d. An argument for closed captioning reminds us of the folks who complain loudly (we are told) in the cinema when captioning is showing - we say, get used to it. Focus on the communication that works for you - speech, text, whatever. e. Use the language you need and prefer; it's nice to have a choice, so many do not have any choice - they have no cc at all for much online. --"

Re a and b: on YouTube, closed captioning autostarts with the video. In platforms for making closed captions and subtitles - DotSUB, UniversalSubtitles, Overstream - the player very clearly announces the closed captions / subtitles in other languages. Re e.: isn't there even less open captioning online. And from a volunteer captioner's view point, it's way easier to produce closed captioning than open captioning (Claude)

"L'accessibilità, lo abbiamo detto tante volte in questi mesi, è questione di volontà, di passione, di vocazione ma soprattutto di diritti e di doveri. Diritti delle persone con cecità e sordità di partecipare attivamente all'offerta culturale del proprio Paese, dovere della politica, degli amministratori e degli operatori culturali di formarsi, reperire informazioni, cercare specialisti e tecnici dell'accessibilità. Anche se non è facile, a volte le professionalità giuste si trovano tra persone che nella vita di tutti i giorni si occupano di cose apparentemente diverse, ma che coltivano con passione, devozione, ottimismo, inventiva, fantasia e competenza tutte quelle attività che si rivelano fondamentali per l'accessibilità - teatrale nel nostro caso. Oggi è il turno di Gianluca Aloi, una delle menti 'tecniche' più importanti dello spettacolo 'Le Avventure del Piccolo Burattino'. Lo abbiamo intervistato per voi, e anche un po' per noi."