Exploring the skills of Audio Describers - Rod Dungate

RSC: The cast of Henry VI: Rebellion

Photo Credit: Ellie Kurltz

Exploring the skills of Audio Describers - Rod Dungate

ReviewsGate editor, Rod Dungate, explores the skills of Audio Describers with two of the RSC team.

Life is full of mysteries. For many people looking at a play schedule the letters AD against a performance may be one of these little mysteries. AD stands for Audio Described. Audio Description is a means by which people with all levels of vision impairment (VI) may enjoy the live theatre experience. Live experience means live audio description; so I sat down with two RSC audio describers to find out more.

It was a pleasure to meet Audio describers Julia Grundy and Carolyn Smith; I live with vision impairment so, without doubt, have often heard them. It would be true to say that were it not for the audio describers at the RSC, I, and many like me, would find it pretty valueless to attend RSC performances. The immediate thing I noticed about my two describers was their passion for the job and their knowledge and experience that enables them to do it.

Describers endeavour to provide vision impaired patrons with a similar experience to sighted patrons so that, as Carolyn puts it: You are on the same page, so that when you go to the pub or bar you can discuss it having had a very similar experience.

In the main, Describers give a complementary commentary on the performance that the vision impaired patron receives via a headset. Describers will give entrances and exits and important stage action. During large scenes, they will occasionally help by deftly fitting in the name of the character who is to speak. They will sometimes offer greater assistance, as Julia explains: To help keep the narrative moving, putting in a thread, like such-and-such is in hiding.

This may sound fairly straightforward, but it rarely is. I want to know what they do when a large number of characters come on at the same time. I ask: If you give all their names won’t the scene have finished before you’ve done it?

In answer they must first explain how they create their Describer script.

Audio Describers mostly work in pairs; they will agree who will describe which half. They write their script after watching a performance, and with, for reference, a video of a late rehearsal filmed for RSC archiving purposes. Often this Describer script is written between the lines of the acting script as a MS Word document. Describers can pick out entrances and exits but can additionally pick out other relevant information about the stage action.

When large groups enter or leave, the Describer will sometimes summarise, Julia explains: You might say ‘his entourage’, or you prioritise according to who is key to the plot.

This is where Describers’ knowledge and sensitivity to the play comes to the fore. Of course in a scene with a large number of people, a large number of people speak. To name each speaker would be a nightmare; again, Describers prioritise names when necessary.

I confess to Julia and Carolyn that, as veteran AD performancer I have taken this particular skill for granted. This seemed to go down well. Carolyn: Once you get used to our voices you should see the action in your mind’s eye; it’s our gold standard.

Audio Describers are freelance workers, so all this is done with careful speed.

Once written, scripts are trialled. Each Describer goes through their script while their partnered colleague listens in the auditorium, and takes notes. Describer scripts are appropriately amended. At this preliminary stage performances can still be changing so scrips must be kept up to date.

Informal feedback is encouraged. Describers introduce themselves to VI patrons as headsets are returned; in this way immediate and valuable comments can be obtained. Julia and Carolyn say that audiences are usually polite, though (and with wry smiles): Young people tend to tell us exactly what we ask for.

As well as the live on-going description, Describers will precede the performance with an outline of settings, costumes and character appearance. Describers must liaise with creatives and performers. This has become increasingly important with greater diversity and because these details are now put on line, hence, more widely seen and read. Carolyn explains the general principle: How would you describe yourself?

Even so, I am informed, Describers are ever aware that the description must work for the VI patrons.

These preliminary descriptions are detailed and I personally find it too much detail to take in, in great detail, however, I have learned that they are important in giving an over-all feel for the production and, sometimes, vital information that delineates, say, one group of characters from another.

The high level of required skills, knowledge and sensitivity do not just fall into a Describer’s lap. Both Julia and Carolyn, together with colleagues, have formally trained, but they point out that the RSC oversees its own training, which may be in addition. The RSC intention is to offer a Rolls Royce service. The RSC retains a core of about six describers together with captioners and others all managed by Josefa MacKinnon - Creative Programme Developer, Access and Inclusion.

No Describer, fresh from training should feel fully equipped; they will be paired with an experienced describer to start with, and this is where the learning really begins. But once trained and experienced, Julia and Carolyn point out there are several opportunities for work.

Members of the RSC core team are allocated to shows taking into consideration the type of show and the availability. Among other work, for instance, Julia and Carolyn describe for Birmingham Rep, Birmingham Hippodrome and Brimingham Royal Ballet.

Nearly all live performances in venues will have Audio Described performances during a run. Both Describers cover all forms of performance and work all over the country.

Nothing stands still; digitally recorded AD is being experimented with. And it was pointed out to me that, although AD was developed in the US, fashions there are changing. So, in New York, the trend is to have no preprepared script, and description is improvised according to stage action. It is also to be noted that the upcoming Midsummer Night’s Dream at Stratford, according to the RSC website: Includes Creative Audio Description, which is performed live and in character by the cast, at every performance from press night. Audiences can access audio description and an additional soundscape through headsets.

Sounds intriguing. Julia, Carolyn and I are equally eager to see the performances.