Acta humanitarica universitatis Saulensis. T.23 (2016). 232242.

ISSN 1822-7309

Translation as a Means of Social Integration

L i n a A B R A I T I E N , J u r g i t a A S T R A U S K I E N ,
MiglURBONIEN
Vilnius University Kaunas Faculty of Humanities

Keywords: audiovisual translation (AVT), social accessibility, audio

description, audio introduction, surtitling, subtitling, touch tour, respeaking,
caption.

Introduction
In the 21st century, the media is described as an omnipresent phenomenon that
aims not only to provide large amounts of information, it helps develop business,
entertains the audience or educates it, it also promotes the development of the
means of social integration of people with disabilities. The growing number of
viewers and spectators testify the need for audiovisual translation (hereafter AVT)
at all levels international, national, regional and local since members of any
society are multifarious as their needs differ.
New technologies have a huge impact on the translation practice, the need of
translation products has increased across the world. Nowadays we cannot imagine
our life without videos, DVDs, computer games, films. In modern communication
era, everyone can choose various means of communication that have become
integral part of everyday life. Due to media and technology penetration new kinds
of translation appear. In this context, audiovisual translation (hereinafter AVT) or,
as it is sometimes referred to, multimedia translation and screen translation takes
the leading position. Moreover, in each country AVT supports different traditions
of translation and the main translation modes, i.e. dubbing, subtitling and voice-
over. However, these are not the only modes as there are special audiences that
need specific translation, i.e. translation as a means of reducing social exclusion.
Such translation, sometimes referred to as specialised translation, is: respeaking,
audio description for the blind and partially sighted, audio subtitling as well as
subtitling for the deaf and hard of hearing (SDH).
As far as the main AVT modes are concerned, voice-over is the most frequently
used type of translation in Lithuania. Nevertheless, subtitling is also being
promoted by the EU declaration on subtitling of all public TV programmes. It
lays down that subtitling of all public TV programmes in the EU is vital seeking
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to ensure that all viewers, including the deaf, the hard of hearing, with visual
impairment, have full access to them. A growing awareness of the need to address
the diverse needs of population is reflected in legislation, for example, the Law
on Provision of Information to the Public of 1996 (lt. Visuomens informavimo
statymas) and the Constitution of the Republic of Lithuania Article 25 of 1992 (lt.
Lietuvos Respublikos Konstitucijos 25 straipsnis). There are signs that this need is
also being recognised by the world of entertainment. Thus, the aim of this paper is
to discuss AVT as a means of social integration of people with disabilities since the
issue has been insufficiently researched in Lithuania.

The Concept of Audiovisual Translation

AVT is a branch of translation studies. In general, AVT is translation of any
media text (or any other product) on the screen. The term audiovisual translation
refers to screen translation or film translation (K a r a m i t r o g l o u 1998, 1).
The term screen translation emphasises the locative function as the final product
of translation the text appears on TV, on cinema or computer screen with both
sound and image.
Jorge Diaz Cintas provides the following definition of AVT: This is the generic
term that refers to the translation of products in which the verbal dimension is
supplemented by elements in other media. In case such as songs and radio
programmes the message is conveyed only auditorily. In some other cases, the
visual channel is the only one: comic strips, published advertisements, etc. other
products such as films, CD-ROMs or documentaries resort to both channels to
convey a message. The concurrence of different communication systems such as
images, sound (music, noise) and the verbal component (oral production, written
text) is responsible for a series of limitations that constrain the translators task
(D i a z C i n t a s 2008, 1). Hence, this definition clearly indicates that the term
audiovisual translation is applicable not only in cinematographic translation
context but also in all forms of media. The process of AVT involves transferring
a text, i.e. original conversation in a film, in the source language to the target
language through a variety of synchronous channels such as writing, image and
sound. Thus, AVT, being such a multi-semiotic transfer of audiovisual production
and a media accessibility tool, is an ever-growing translation practice involving a
variety of transfer methods that can serve for the most vulnerable groups of society
(cf. O r e r o 2004, viii).

Translation Techniques for the Blind and Visually Impaired

AVT for the blind and visually impaired combines methods of communicating
many various visual aspects of audiovisual production through such senses as
hearing and touch. It is important to note that the translator is the one who selects a
way in which to convey any material, an exhibition, a performance, a film, etc. The
translators task is to verbalise visual aspects of audiovisual production drawing

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on allusions which have reference to the senses other than sight - especially touch
and smell (Y o r k 2007, 13), where a change in a mode is done: from visual to
written and then to audio. It is a challenge for the translator to achieve a smooth
transition, i.e. change from a visual to an audio mode with last-minute alterations
if needed. Moreover, the translator also has to take into account that it is important
to explain sounds that can be heard but difficult to understand, information about
the plot and characters, especially if the material, e.g. an opera, is in language
unfamiliar to the audience. Furthermore, the translators work is also affected by
time constraints as every scene has its own timeframe. It is also important to note
that the use of intralingual modes for the visually-impaired (cf. D a z C i n t a s,
A n d e r m a n 2009, 13) make the production more audience-friendly.

Audio Introduction
Audio introduction (hereinafter AI) is another mode of assistive translation being
an audio text which describe[s] the opera production prior to the representation
(O r e r o, M a t a m a l a 2007, 269). York also notes that it can be considered
as an extended introduction <...> which includes a clear synopsis of the plot, as
well as a lot of colourful details about the visual elements (2007, 215). AI was
introduced by Gregory York in 1993 when he set up the first enterprise Talking
Notes to provide AI at music events. AI can be pre-recorded and available online
in the mp3 format, audio cassette or CD (cf. O r e r o, M a t a m a l a 2007, 269)
or can be live. The beginning of AI was encouraged by demand from the audience
willing to follow the performance more closely.
The audio presenter or translator has to use all skills, linguistic, narrative
and technical, and faces the greatest challenge time, as AI usually lasts 15
minutes and is played before the beginning of the opera with further 5 minute
commentaries before successive acts (cf. W e a v e r 2010). The translator must be
able to condensate the material professionally as the plot has to be communicated
concisely and vividly but without information overload (cf. Y o r k 2007). While
producing AI, the translator has to work in a team since the translation process
from stage to the final version of recording requires input of the whole group,
of researchers, technicians, writers, presenters, as the quality of audio recording
includes studying costumes and staging as well as the script of an opera or a play.
Finally, it is important to note the role of the translator in maintaining a sense of
realism whilst interacting with the audience. With this aim in mind the presenter
may choose to avoid technical theatrical references and to refer to the audience
using the pronouns you and us, for example, strategies which highlight the
performance and narrating aspect (W e a v e r 2010). According to York (2007),
the use of audio introduction has several various advantages. Everyone can listen
to the opera naturally as there is no need to wear headsets at the performance,
moreover, there is also no disturbance when the audience is listening to music.
And, most importantly, since AI can be pre-recorded, it is always available.

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However, the biggest setback of AI is that the element of surprise is also removed
(O r e r o, M a t a m a l a 2007, 270) as nearly everything is pre-described except
improvisations or curtain calls at the end of the performance.

Audio Description
Another mode of AVT for the visually impaired audience is audio description
(hereinafter AD) defined as the descriptive technique of inserting audio
explanations and descriptions of the settings, characters and action taking place in a
variety of audiovisual media, where information about these visual elements is not
offered in the regular audio presentation (O r e r o 2005, 7). Lpez and Francisco
add that audio description is an assistive service consisting of a set of techniques
and abilities, whose main objective is to compensate for the lack of perception of
the visual component in any audiovisual message, by providing suitable sound
information which translates or explains, in such a way that the visually impaired
perceive the message as an harmonious work and is as similar as possible to the way
is perceived by the sighted people (L p e z, F r a n c i s c o 2006, 1). In some
opera houses AD is provided along with AI (cf. M a t a m a l a 2005). AD was first
introduced around the mid-eighties in the theatres of the US, Canada and UK (cf.
O r e r o 2005, 8) and went worldwide quite quickly. As AD is delivered live for all
performing arts as well as opera, specific requirements have to be considered, e.g.
a quick reaction to unforeseen events which may happen during the performance
(cf. O r e r o, M a t a m a l a 2007). As AD invokes a live delivery, the audio
describer has to follow changes in tempo, even the music score helps with the
timing of the narration (O r e r o, M a t a m a l a 2007, 272). Though similar
translation skills are needed in AD and AI, the intermittent commentary aspect
throughout the performance (W e a v e r 2010) is the one that distinguishes AD
from AI. Frequent interaction with the audience affects music reception and that is
often under reconsideration therefore theatres tend to use AI as part of AD just to
improve comprehension trying to deliver a complete AD of everything even if it
meant treading on an aria or relevant music (O r e r o, M a t a m a l a 2007, 270)
and provides information not only on what is happening visually but also on the
feelings of the characters and on the plot (M a t a m a l a 2005, 10). Nowadays
AD can be described as a short audio introduction to the whole opera usually lasting
about eight to ten minutes before curtain goes up, including the plot, costumes,
hairstyle, stage and prop descriptions, characterisations and scenography, summary
before each act (cf. O r e r o, M a t a m a l a 2007; M a t a m a l a 2005). Thus, the
role of the opera audio describer can be characterized as demanding, spontaneous
and requiring improvising due to live performance.

Audio Subtitles / Surtitles

Audio subtitles (hereinafter AS) are visual elements of the performance and part
of the opera experience being read aloud. Blind and visually impaired people are

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able to listen to the opera or performance but when the text is in foreign language
they do not understand the words AS are usually offered to the general audience
to help overcome the language barrier. However, they are useless for people with
visual impairment, thus, AS are read by the audio describer or voice-talent to help
them follow the plot. Although AS are a great support at the performance or opera
they also have some disadvantages. The greatest disadvantage of AS is that they
do not accommodate description of any other visual element of scenography or
dramatic action (W e a v e r 2010). Thus, movement, set, design, costumes, props
or facial expressions are not observed, moreover, they can also interrupt music or
lyrics. However, audience feedback is positive and very encouraging in the opera
context (cf. O r e r o, M a t a m a l a 2007, 273), in fact, the audience, respond that
they enjoy both the music and the commentary (O r e r o 2007, 145).

Touch Tours
Touch tours are visits not only to the stage and backstage where people with
vision impairment can touch items of the set, stage design models, costumes and
props and gain as much information as possible about the visual elements of the
production prior to the performance. They are also held at museums. Such touch
tours are often accompanied by verbal descriptions and in some theatres last for
about one hour and fifteen minutes (cf. W e a v e r 2010). Information collected
during the tour can help the blind create their own mental image without any
external agent (W e a v e r 2010). Touch tours along with AI, AD and AS may
add lacking details at a live event as they respond to tactile, audio and olfactory
stimuli (cf. U d o, F e l s 2009). They can provide information not only about the
dimensions and the geographical layout of the stage but also help understand the
artistic directors vision.

Translation Techniques for the Deaf and Hard of Hearing

Sign language interpreting (SLI) and captioning or adapted surtitles are used to
make the opera accessible for the deaf and hard of hearing. Here the translators
task is to communicate the information and emotion of the acoustic elements of
the opera or performance using those means that can help this group follow the
plot. While dealing with music that covers a range of elements including melody,
harmony, rhythm, dynamics, textures, pitch and intonation as well as language that
encompasses dialects and accents, the translator often faces resistance of people
who consider sign language and surtitling obtrusive and annoying practices that
hinder the full reception of the visual component (O r e r o, M a t a m a l a 2007,
274). Sign interpreted performances are rare due to a lack of understanding of
hearing impediments, that deaf and hard of hearing individuals can understand
music. Therefore, a theatre that is aiming to be fully accessible to all deaf
people will offer all three assistive devices: sound enhancement, sign language
interpretation and captioning for their performances (W e a v e r 2010). Moreover,

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percussionist Evelyn Glennie has highlighted the tactile element of hearing stating
that Hearing is basically a specialized form of touch. Sound is simply vibrating air
which the ear picks up and converts to electrical signals, which are then interpreted
by the brain. The sense of hearing is not the only sense that can do this, touch can
do this too. If you are standing by the road and a large truck goes by, do you hear or
feel the vibration? The answer is both. With very low frequency vibration the ear
starts becoming inefficient and the rest of the bodys sense of touch starts to take
over. For some reason we tend to make a distinction between hearing a sound and
feeling a vibration, in reality they are the same thing. It is interesting to note that in
the Italian language this distinction does not exist. The verb sentire means to hear
and the same verb in the reflexive form sentirsi means to feel. Deafness does not
mean that you cant hear, only that there is something wrong with the ears. Even
someone who is totally deaf can still hear/feel sounds (Glennie 2015). Orero and
Matamala add that the deaf and hard of hearing community includes people who
are partially able to hear, people who hear only certain frequencies and people who
cannot hear anything at all but who can feel the vibrations of the orchestra, making
an opera an enjoyable experience for all of them (O r e r o, M a t a m a l a 2007,
274). In short, the translators visibility is essential here while other modes of
translation preach it down.

Sign Language for Performances

Only in 1995 Lithuanian sign language was recognized as a native language
of the deaf and hard of hearing (Regarding the Recognition of Lithuanian Sign
Language the Mother Tongue, Government decision No. 630, 4 May 1995).
According to the Lithuanian Deaf Association (LDA), approximately 8 000 deaf
people and approximately 30 000 people with hearing disorders reside in Lithuania.
The service network has been developed. The UN Convention on the Rights of
Persons with Disabilities lays down that accessibility, freedom of expression and
opinion, access to information, education, work and employment, participation in
political, public and cultural life, recreation, leisure and sports must be ensured;
thus, various means of accessing the media are provided for this group of people.
The first performance in sign language, Pavasario fleita, was held in 2010
in Vilnius: the sign language interpreter was standing at one side of the stage
and interpreting. This service is provided by individual sign interpreters from
the surdology counselling centres at selected performances. The sign language
interpreter wears dark clothes subtle spotlighting and avoids any interference with
the action on the stage and in this way there is a tension between visibility and
invisibility or unobtrusiveness, and the sign interpreter, whilst playing an integral
part in the performance, remains discreet, rather like the orchestra (W e a v e r
2010). His task is to convey details of the plot, characters and their emotions
using body language, including movements, facial expression. In addition,
musical phrasing and rhythm can be showed by hand gestures and dance like

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body movements, his artistry can help better understand the performance as (s)he
becomes part of the actors team directly communicating with the audience.

Respeaking
The production of written simultaneous language translation by dictating a
translated version of a live speech is not new, it is used at meetings and conferences
where different languages are spoken. Now dictation for live subtitles into a speech
recogniser to create prompt and accurate subtitle texts for hard of hearing viewers
of live television programmes, at conferences, other public events is a common
practice in the US and UK as well as elsewhere in Europe but new in Lithuania.
Respeaking has been in use since 2001 and since then the skills and tools have
developed significantly (L a m b o u r n e 2006). A special speech recognition
program is used to produce live subtitles. The entire process can be divided into
several steps: the aural content of the programme is respoken, often with some
editing to aid recognition. Punctuation is also voiced as are some labels for
paralinguistic content. Then, the speech recognition software processes the input.
Finally, the recognised utterances pass through the subtitling software and the
respeaker is able to make slight adjustments to the subtitles either before or as they
appear on the screen. Perfection cannot be reached in respeaking as errors either in
real life speech, human-speech recognition interaction or software-specific errors
are difficult to avoid, however, the development of technologies decreases the
number of errors.

Captions and Subtitles / Surtitles for the Deaf and Hard of Hearing (SDH)
Captioning originated in the 1980s and is a special device for the deaf and hard
of hearing audiences, which is used in live theatre and opera performances as well
as TV (on TV, open or closed captions can be selected), presents the text converted
from the spoken word and displays on a caption unit that is viewed by the audience
(cf. S h a w 2003, 14). Captioning is always used to provide additional information
on audio elements particularly for the hard of hearing audiences and that is one of
the main features distinguishing captioning from subtitles or surtitles. Next to the
full text the captioner includes the acoustic features as well as character names
converting the spoken text verbatim to a visual written script. Moreover, captions
traditionally displayed as a white text on a black band can be positioned in the most
appropriate place for each individual production and hard of hearing audiences
can choose either lip-read the actors or read the captions. In captioning a variety
of written styles to reflect spoken language or specific tones of voices may be
indicated through appropriate punctuation and other different labelling.
SDH are subtitles / surtitles in the source language of the video or performance
that also include important non-dialogue audio sound effects and speaker
identification (cf. A r n i z-U z q u i z a 2012). While regular subtitles assume
that the viewer can hear the audio but does not know the spoken language, SDH

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assume that the viewer cannot hear the audio (like with captions). SDH subtitles
are usually displayed with the same proportional font of translation subtitles and
cantered at the lower bottom third of the screen and, in case of surtitles, cantered
above the stage on the special screen. Despite the differences between captions
and SDH, captioners and subtitlers / surtitlers have to possess a musical sensitivity
regarding the timing and synchronisation of text delivery and play an indirectly
interactive role with the action on the stage as well as with the audience (cf.
W e a v e r 2010).
The introduction of new translation modes questions the concept of the
translators invisibility conceived by Venuti (1995, 1) as when translating for the
blind and visually impaired and the deaf and hard of hearing the translator intervenes
in the original text or representation or even has to appear physically as in the case
of sign language interpretation, i.e. (s)he becomes visible. The discussion about
it highlights the tension between Venutis dichotomy of the translators visibility
and invisibility (V e n u t i 1995, 4-5), an issue which is currently particularly
prominent due to the introduction of new translation methods for the sensory
impaired or the adaptation of existing techniques, induces the reassessment of
translation priorities.

Conclusions
When selecting a proper translation mode, the translators or performers
expertize, his flexibility and a potentially interactive role in the AVT are essential
for the most vulnerable groups of society the deaf and hard of hearing as well as
the blind and visually impaired. Furthermore, technological developments require
an increasing technical expertise and enhance the translators visibility both in the
script and physically thus enhancing the perception of translated pieces of music,
performances or other forms of art.
Although a variety of translation modes, such as audio introduction, audio
description, audio subtitles / surtitles along with touch tours, respeaking, sign
language, captions and adopted subtitles / surtitles are used worldwide, some of
them are rare in Lithuania because of a lack of knowledge and expertise. Therefore,
research should be carried out in Lithuania to enhance the significance of the AVT
modes of assistive translation.
AVT is still a new and developing means of removing social barriers between
active and sensory impaired members of society. Moreover, used as a means of
reducing social exclusion it can facilitate participation of people with disabilities
in social and cultural events.

References
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 Translation as a Means of Social Integration

Lina Abraitien, Jurgita Astrauskien, Migl Urbonien

Vertimas kaip priemon, padedanti sumainti socialin atskirt

Santrauka

Pagrindins svokos: audiovizualinis vertimas (AVV), prieinamumas, garsinis vaiz-

davimas, garsinis vadas, subtitr ir surtitr skaitymas, lieiamasis spektaklio apjimas,
persakymas, aikinamieji titrai.

XX a. pabaigoje vykusi technologin revoliucija lm itin spart audiovizualinio ver-

timo populiarjim. iandien mokslininkai iskiria kelet tokio vertimo bd: dubliavim,
uklotin vertim ir subtitravim. Pastarasis skirstomas surtitravim ir subtitravim kur-
tiesiems bei neprigirdintiesiems. Vertjo uduotis atliekant specializuot vertim yra kur
kas sudtingesn nei tik susitvarkyti su besikeiianiais garso, vaizdo, lytjimo, uosls ir
skonio elementais. iandien jis turi prisiimti ir atlikjo vaidmen: tapti svarbiu operos ar
kito pasirodymo dalyviu, utikrinaniu krinio suprantamum, besirpinaniu sensorin
negali turini asmen socialins atskirties mainimu. Dl technologinio tobuljimo ver-
tjas tampa libretistu, subtitruotoju, surtitruotoju, garsinio vaizdavimo specialistu, garso
subtitruotoju ar gest kalbos vertju ir keiia poir audiovizualins mediagos prieina-
mumo utikrinim kiekvienam visuomens nariui.

Lina Abraitien, Jurgita Astrauskien, Migl Urbonien

Translation as a Means of Social Integration

Summary

Keywords: audiovisual translation (AVT), social accessibility, audio description,

audio introduction, surtitling, subtitling, touch tour, respeaking, caption.

At the end of the 20th century, the field of audiovisual translation (AVT), which is also
referred to as multimedia translation or screen translation, experienced a remarkable boom
along with technological revolution. Nowadays scholars distinguish between several AVT
modes, such as dubbing, voice-over, etc. as well as subtitling which is further subdivided
into, surtitling, subtitling for the deaf and the hard of hearing which can contribute to social
integration of people with special needs. There are over 10 different types of multilingual
transfer of audiovisual media when a translated text is transmitted via two simultaneous and
complementary acoustic and visual channels. They combine several signifying codes. The
translators task in specialised translation modes is not only to demonstrate competence
when dealing with various audio, visual, tactile, olfactory and gustatory elements but also
to act as a performer and become part of the performance or opera and facilitate their
perception and in this way to significantly reduce social exclusion of the sensory impaired.

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 Lina Abraitien, Jurgita Astrauskien, Migl Urbonien

Due to technology development the translator plays a wide range of roles: he is a librettist,
surtitler, subtitler, audio describer, audio presenter, audio subtitler, sign interpreter or
captioner and thus contributes to changing attitudes towards persons with disabilities.
Information accessibility promotes social integration of people with disabilities.

L i n a A B R A I T I E N ,
J u r g i t a A S T R A U S K I E N ,
Migl URBONIEN
Kaunas Faculty of Humanities
Vilnius University
8 Muitins St.
LT-44280 Kaunas
Lithuania
[lina.abraitiene@khf.vu.lt;
jurgita.astrauskiene@khf.vu.lt;
migle.urboniene@khf.vu.lt]

Straipsnis gautas 2016 m. rugsjo 5 d., priimta 2016 m. lapkriio 2 d.

Received 5 September 2016, accepted 2 November 2016.

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