dance and Opera Module 3 Unit 8 dr. Louise Fryer
Description: dance and Opera Module 3 Unit 8 dr. Louise Fryer Utopian Voices Ltd. Why Dance Opera? Same venue. Same production. AD strategies are also useful for any kind of choreographed movement. For fights, aerial circus. opera and dance are
Related Topics
Download Presentation
"dance and Opera Module 3 Unit 8 dr. Louise Fryer" is the property of its rightful owner. Permission is granted to download and print the materials on this website for personal, non-commercial use only, and to display it on your personal computer provided you do not modify the materials and that you retain all copyright notices contained in the materials. By downloading content from our website, you accept the terms of this agreement.
Presentation Transcript
slide1. dance and Opera Module 3
Unit 8 dr. Louise Fryer Utopian Voices Ltd.<br>
slide2. Why Dance & Opera? Same venue.
Same production.
AD strategies are also useful for any kind of choreographed movement.
For fights, aerial circus.<br>
slide3. opera and dance are similar Story is told musically & visually but not verbally.
Dance – no dialogue.
Opera – words can be hard to decipher.<br>
slide4. Audio subtitling Libretto is displayed as translation on captioning (surtitling) units.
Sighted audience can read as they watch and listen.
AD must provide both as a kind of audio subtitling.<br>
slide5. Ast Original libretto?
Surtitles?
Paraphrase or verbatim?<br>
slide6. music Don’t mask the music with the AD.
If you don’t speak over the music, how can you make it accessible?<br>
slide7. Some solutions Enhanced AD e.g. Touch Tour and AI (Audio Introduction).
Economy.
Fit AD to the rhythm of the music.
Careful placing to minimise masking.<br>
slide8. Ai for dance and opera Synopsis.
Take the lead from the printed programme to avoid spoilers.
Give an idea of the dance style.<br>
slide9. Touch Tour for dance Workshop.
Dancers demonstrate key steps or sequences.
PSL taught steps and positions.<br>
slide10. Other things to consider Some music is sacrosanct.
Famous arias (La Boheme the tenor solo ‘Che gelida manina’ (‘Your tiny hand is frozen’) - best left alone.<br>
slide11. Not just on stage e.g. “Richard Farnes comes into the pit to conduct Act 1”.
Your AD audience can applaud at the same time as the sighted audience.<br>
slide12. cues You might write your script in a copy of the score.
Take your cues from the music.
Synch with the surtitles or action.<br>
slide13. Dance – technical terms “The ballerina pliés, sinking low, heels together, knees bent”.
Ensuring your audience feels they’re attending a ballet – not a piece of contemporary dance nor a story with music.
It’s not just about the moves.<br>
slide14. Rudolph Laban (1879 – 1958) Choreographer.
Movement theoretician.
Vocabulary: weight, time, space.<br>
slide15. space Space. How do the dancers move through it?
How much space does the dancer occupy?<br>
slide16. time Is the movement slow, sustained and calm?
Or quick, darting and impulsive?<br>
slide17. weight How much force does the movement use?
Is it strong or light?<br>
slide18. Appeal to the kinaesthetic not the visual Don’t just describe what it looks like, convey what it “feels” like.
Are the dancer’s muscles tense and rippling with effort?
Is the breathing rapid and fast?
Is there a sense of effortless grace?<br>
slide19. dance and Opera Module 3
Unit 8 dr. Louise Fryer Utopian Voices Ltd.<br>
slide20. The preparation of this presentation was supported by ADLAB PRO
(Audio Description: A Laboratory
for the Development of a New Professional Profile),
financed by the European Union
under the Erasmus+ Programme,
Key Action 2 – Strategic Partnerships,
Project number:2016-1-IT02-KA203-024311.<br>
slide21. The information and views set out in this presentation
are those of the authors and do not necessarily reflect
the official opinion of the European Union.
Neither the European Union institutions and bodies
nor any person acting on their behalf may be held responsible for the use which may be made
of the information contained therein.<br>
Unit 8 dr. Louise Fryer Utopian Voices Ltd.<br>
slide2. Why Dance & Opera? Same venue.
Same production.
AD strategies are also useful for any kind of choreographed movement.
For fights, aerial circus.<br>
slide3. opera and dance are similar Story is told musically & visually but not verbally.
Dance – no dialogue.
Opera – words can be hard to decipher.<br>
slide4. Audio subtitling Libretto is displayed as translation on captioning (surtitling) units.
Sighted audience can read as they watch and listen.
AD must provide both as a kind of audio subtitling.<br>
slide5. Ast Original libretto?
Surtitles?
Paraphrase or verbatim?<br>
slide6. music Don’t mask the music with the AD.
If you don’t speak over the music, how can you make it accessible?<br>
slide7. Some solutions Enhanced AD e.g. Touch Tour and AI (Audio Introduction).
Economy.
Fit AD to the rhythm of the music.
Careful placing to minimise masking.<br>
slide8. Ai for dance and opera Synopsis.
Take the lead from the printed programme to avoid spoilers.
Give an idea of the dance style.<br>
slide9. Touch Tour for dance Workshop.
Dancers demonstrate key steps or sequences.
PSL taught steps and positions.<br>
slide10. Other things to consider Some music is sacrosanct.
Famous arias (La Boheme the tenor solo ‘Che gelida manina’ (‘Your tiny hand is frozen’) - best left alone.<br>
slide11. Not just on stage e.g. “Richard Farnes comes into the pit to conduct Act 1”.
Your AD audience can applaud at the same time as the sighted audience.<br>
slide12. cues You might write your script in a copy of the score.
Take your cues from the music.
Synch with the surtitles or action.<br>
slide13. Dance – technical terms “The ballerina pliés, sinking low, heels together, knees bent”.
Ensuring your audience feels they’re attending a ballet – not a piece of contemporary dance nor a story with music.
It’s not just about the moves.<br>
slide14. Rudolph Laban (1879 – 1958) Choreographer.
Movement theoretician.
Vocabulary: weight, time, space.<br>
slide15. space Space. How do the dancers move through it?
How much space does the dancer occupy?<br>
slide16. time Is the movement slow, sustained and calm?
Or quick, darting and impulsive?<br>
slide17. weight How much force does the movement use?
Is it strong or light?<br>
slide18. Appeal to the kinaesthetic not the visual Don’t just describe what it looks like, convey what it “feels” like.
Are the dancer’s muscles tense and rippling with effort?
Is the breathing rapid and fast?
Is there a sense of effortless grace?<br>
slide19. dance and Opera Module 3
Unit 8 dr. Louise Fryer Utopian Voices Ltd.<br>
slide20. The preparation of this presentation was supported by ADLAB PRO
(Audio Description: A Laboratory
for the Development of a New Professional Profile),
financed by the European Union
under the Erasmus+ Programme,
Key Action 2 – Strategic Partnerships,
Project number:2016-1-IT02-KA203-024311.<br>
slide21. The information and views set out in this presentation
are those of the authors and do not necessarily reflect
the official opinion of the European Union.
Neither the European Union institutions and bodies
nor any person acting on their behalf may be held responsible for the use which may be made
of the information contained therein.<br>