Hi Sally. Thank you so much for joining us today to talk about sign language interpreting in the scenic arts. In our video tutorial on sign language interpreting, we talked about the practical steps involved in implementing sign language interpreting as an access facility at arts events. So that�s, you know, it would be great if we could chat a little about that today. But first of all, could you just tell us a little bit about yourself? Yes, so my name�s Sally Gillespie. I�m a sign language interpreter. I did my PhD here at Queen�s in Belfast looking at translation - specifically the linguistic demographics of deaf sign language users, but my day job is a sign language interpreter. For anyone who would make use of an audio description, I�m of slim build, with long brown hair and I have freckles but certainly my most notable feature are my dimples, which is where I get my sign name. My sign name is for sign language users. Rather than fingerspelling an English name every time, we tend to give people a gesture or sign. So if I�m introducing myself, I do the sign for dimples while saying Sally, so that is where I get my name from. Thank you very much for telling us a little bit about yourself. In our video tutorial, we talked about how the sign language interpreter needs to have a copy of the script and a programme and also lyrics if there are any songs in the performance and a DVD and also the opportunity to see the performance perhaps even twice in advance, and with sufficient time to prepare for the event. Could you tell us a little bit about why it is so important that you have all of those things in advance? Absolutely. So, day in day out I�m a sign language interpreter, and I work in many different settings. It could be a conference, it could be someone�s office, it could be a doctor�s appointment. But ultimately, performance interpreting is a very different setting and almost a specialism within sign language interpreting, and that�s why I as a practitioner need a lot more resources to help me prepare. If you imagine, the cast practise and practise, so that each of them is hitting the right cue at the right time. They�re hitting the right notes, they know the words inside out. I need to do that as well, but in a different form. So if the ensemble is building to a finale, and they all come together and there is a real dramatic, you know, crescendo at the end of their performance, and I�m standing in the corner going �But then they said this and then they said this uuuuuh! Oh and they are finished now!� It�s entirely distracting from everything else that is going on, not least it looks completely alien to the rest of the stage but at its worst it�s distracting to the rest of the patrons who are not there for a sign language performance. So in order to do the best job that I can, I need the resources to prepare. It�s not enough to work consecutively, or with a slight time lag like the way I would in any other setting. I need to make sure that I know what they are about to say or sing before they even say it. Therefore I need to commit the entire show to memory to be able to do a good job as an interpreter. So things like the script really help me because I know the exact words that they are supposed to say. Whether they say it or not of course..! You've got to have flexibility, but the soundtrack also helps me know the style, or how they�re going to do it. Then, the DVD as well as just an audio recording, the DVD allows me to see how they are going to present themselves on the stage. Sign language being a visual language, if someone comes on stage, I need to know that they are coming on stage from the right and not coming on stage from the left. I need to know that they are going out the door that�s at the back rather than the door that�s at the front of the stage over there. So I need to build up a picture, so that when I�m standing on stage, I�m not constantly looking round to see what they�ve done to make sure that it matches. So I need to know all of that in advance. That�s so interesting, you�ve really brought that to life for us. And it�s something that I�ve heard over and over again, you know, not just from sign language interpreters but also from audio describers and captioners: the importance of having, you know, the script and the DVD in advance. Could you tell us a little bit more about what you think venues and theatre production companies, from your experience, what can they do to make performances more engaging for audiences who use sign language interpreting? Well, there�s nothing more disengaging than an interpreter doing a bad job, so first and foremost I would say give us the resources that we need to be able to do the best that we can, so, support us with those materials. We�re not asking for a script to be awkward, we�re asking because we need it to be able to do a good job. But looking more deeply than that, a lot of production companies now are tending to integrate the interpreter. So rather than a bolt-on where you see the interpreter at the side of the stage, the way you would see late-night TV whenever there�s an in-vision interpreter, that the screen is shrunk and the interpreter is stuck on, that�s great, and that provides access, but actually what we are looking at now is integrated performances where the interpreter is woven into the production from the very inception, rather than as an add-on later on. So that could be the interpreter is written into the script as an extra character. I saw one example of a pantomime where there was The Magic Fairy, who happened to be able to sign everything. So that interpreter was an extra character who was able to walk around the stage in amongst the performers, interacting with the performers, and that just, that brought a whole other dimension to the performance. But in reality of course, that�s not always possible. A lot of touring productions wouldn�t be able to bring their own interpreter with them to each venue that they go to, so it is more feasible that the interpreter is an add-on. But there are still things that you can do well, you can blur the lines between the performance and the interpreter. So whether that�s giving them a costume to wear, maybe nothing outrageous, although I have seen some interpreters do fantastic jobs while dressed in Shakespearian dress! Even giving them a t-shirt, you know, branded with the production. If it�s Joseph and his Technicolour Dreamcoat, maybe you don�t want the interpreter wearing a technicolour dreamcoat, but they could be wearing a t-shirt with Joseph on it to show that they are part of it. It�s all about working with the interpreter and not just expecting them to, stick them on the stage and let them get on with it. And it�s very important that everyone works together in that. Well, you�ve really brought that, these topics to life for us today Sally. It�s been great to hear your input today, so thank you very much. Not at all. Thanks for having me.
