Accessible scenic arts and Virtual Reality: A pilot study with aged people about user preferences when reading subtitles in immersive environments

Main Article Content

Estella Oncins
Rocío Bernabé
https://orcid.org/0000-0003-0711-8653
Mario Montagud
Verónica Arnáiz Uzquiza
https://orcid.org/0000-0003-3703-6480

Abstract

The technological advancements in virtual reality and other forms of immersive content such as 360º video are triggering the concept of liveness in the scenic arts, and deserve in-depth consideration in audiovisual translation studies. The reception of subtitles in this new VR-based media needs to be studied. In the specific field of media accessibility, accessibility in immersive media much research needs to be done. This article explores the preferences of two subtitle options: Subtitles for the D/deaf and hard-of-hearing and Easy-to-Read in a 360º video of Roméo and Juliette the opera, played at the Gran Teatre del Liceu during the 2017/2018 season. A pilot study was prepared and conducted with the aim of determining which subtitling options are preferred by users aged between 50 and 79.

Downloads

Download data is not yet available.

Article Details

How to Cite
Oncins, E., Bernabé, R., Montagud, M., & Arnáiz Uzquiza, V. (2020). Accessible scenic arts and Virtual Reality: A pilot study with aged people about user preferences when reading subtitles in immersive environments. MonTI. Monographs in Translation and Interpreting, (12), 214–241. https://doi.org/10.6035/MonTI.2020.12.07
Section
Articles
Author Biographies

Estella Oncins, TransMedia Catalonia, Universitat Autònoma de Barcelona

Dr. Estella Oncins is a Senior Researcher at TransMedia Catalonia (Universitat Autònoma de Barcelona, Spain). She holds a PhD in “Accessibility for the Scenic Arts” from the Universitat Autònoma de Barcelona. She has a large
experience in providing accessibility for live events as a freelance translator, subtitler, surtitler, respeaker for different Spanish televisions and conferences, and as an audiodescriber for Gran Teatre del Liceu. Her research areas are audiovisual translation, media accessibility and creative industry. She is currently involved in the EU H2020 HELIOS project, being part of the team leading a WP. She is also the Quality Manager and part of the team in charge of IO4 of the ERAMUS+ KA2 EU co-funded project Live Text Access, which 
aims to create certified learning materials for real-time intralingual subtitlers by respeaking and velotyping.

Rocío Bernabé, University of Applied Languages, SDI München

Rocío Bernabé Caro MA in Translation (UGR), MA in Accessible Documents, Technologies and Applications (UNIR) and PhD student in easy-to-understand media services at the Universitat Autònoma de Barcelona. She is also an external collaborator of the research group TransMedia Catalonia. She is Deputy Head of the Professional College of Translation and Interpreting of the SDI in Munich (Germany). She is the project leader of the EU co-funded project Live Text Access that aims to create certified learning materials for
real-time intralingual subtitlers by respeaking and velo-typing. She is project partner, accessibility manager and leader of the Intellectual Output 2 of the EU co-funded project EASIT, Easy Access for Social Inclusion Training. She is at the second year of her doctoral research in the field of easy-to-understand audiovisual modalities with a focus on subtitling.

Mario Montagud, i2cat

Dr. Mario Montagud is a Senior Researcher at i2CAT Foundation (Barcelona, Spain) and a Part-Time Professor at the University of Valencia (Spain). He holds a PhD in Telecommunications (Cum Laude Distinction) at the
Polytechnic University of Valencia (UPV, Spain). His topics of interest include Computer Networks, Interactive and Immersive Media, Synchronization and QoE (Quality of Experience). He is (co-) author of over 70 scientific and
teaching publications and has contributed to standardization within the IETF (Internet Engineering Task Force). He is a member of the Editorial Board of international journals and has been a member of the Organization Committee
of the many international workshops and conferences. He is also lead editor of “MediaSync: Handbook on Multimedia Synchronization” (Springer, 2018) and Communication Ambassador of ACM SIGCHI (Special Interest Group in
Human-Computer Interaction). He is currently involved in three EU H2020 projects, being WP leader in two of them: VR-Together, ImAc and 5G-Picture.

Verónica Arnáiz Uzquiza, Universidad de Valladolid

Verónica Arnáiz Uzquiza BA in Translation and Interpreting from the University of Valladolid (UVA), Spain, and MA in Specialised Translation from the UVA and in Audiovisual Translation from the Universitat Autònoma de Barcelona (UAB). She is cu- rrently employed as a lecturer in Translation, Subtitling and Subtitling for the Deaf and the Hard-of-Hearing (UVA). She has also collaborated with the Master in Professional and Institutional Translation
(UVA) and the European Master in Audiovisual Translation (UAB). She has published several articles and reviews in different journals and volumes, and has presented a number of papers at international conferences dealing with
Translation and Accessibility.

References

Agulló, Belén; Mario Montagud & Isaac Fraile. (2020) “Making interaction with virtual reality accessible: rendering and guiding methods for subtitles.” AI EDAM (Artificial Intelligence for Engineering Design, Analysis and Manufacturing) 33:4. Electronic version: https://ddd.uab.cat/pub/artpub/2020/203753/AIEDAM_-_Article_Agullo_Montagud_Fraile_-_PREPRINT_VERSION.pdf

Agulló, Belén; Pilar Orero & Anna Matamala. (2018) “From disabilities to capabilities: testing subtitles in immersive environments with end users.” Hikma 17, pp. 195-220. Electronic version: https://www.uco.es/ucopress/ojs/index.php/hikma/article/view/11167

Alba Rodríguez, Teresa. (2014) “Traducción audiovisual accesible a personas con discapacidad intelectual mediante el uso de subtítulos adaptados.” Estudios de Traducción 4, pp. 199-209. Electronic version: https://revistas.ucm.es/index.php/ESTR/article/viewFile/45376/42696

Arnáiz-Uzquiza, Verónica. (2012) “Los parámetros que identifican el Subtitulado para Sordos. Análisis y clasificación.” In: Agost Canós, Rosa; Pilar Orero & Elena Di Giovanni (eds.) 2012. MonTI. Monografías de Traducción e Interpretación 4, pp. 103-132. Electronic version: http://www.erevistes.uji.es/index.php/monti/article/view/1590/1334

Audience Agency. (2017) “National Classical Music Audiences. An analysis of Audience Finder box office data for classical music events 2014-2016.” Electronic version: https://www.theaudienceagency.org/asset/1303

Auslander , Philip. (2012) “Digital liveness. A Historico-Philosophical Perspective.” PAJ: A Journal of Performance and Art 34:3, pp. 3-11. Electronic version: http://raley.english.ucsb.edu/wp-content/Engl800/Auslanderdigital-liveness.pdf

Bartoll, Eduard. (2004) “Parameters for the classification of subtitles.” In: Orero, Pilar (ed.) 2004. Topics in audiovisual translation. Amsterdam: John Benjamins, pp. 53-60.

Bartoll, Eduard. (2008) Paràmetres per a una taxonomia de la subtitulació. Ph.D. thesis. Barcelona: Universitat Pompeu Fabra. Electronic version: https://www.tdx.cat/handle/10803/7572

Bernabé, Rocio & Pilar Orero. (2019) “Easy to Read as Multimode Accessibility Service.” Hermeneus 21. (In press)

Bonwit, Stuart. (1998) “Mac at the opera.” Washington Apple Pi Journal, May/June 1998, p. 30. http://www.wap.org/journal/surtitles/surtitles.html

Burton, Jonathan. (2009) “The joy of opera. The art and craft of opera subtitling and surtitling.” In: Kemble, Ian (ed.) 2009. The Changing Face of Translation. Proceedings of the 8th Portsmouth Translation Conference 2008, pp. 29-34. Electronic version: http://www2.port.ac.uk/media/contacts-and-departments/slas/events/tr08-burton.pdf

Burton, Jonathan. (2001) Writing surtitles. Unpublished paper provided by the author and written for the Royal Opera House, Covent Garden, pp. 1-17.

Burton, Jonathan & Amanda Holden. (2005) “Oper Übersetzen”, Die Horen. Zeitschrift für Literatur, Kunst und Kritik, 218: 124.

Carlson, Marvin. (2006) Speaking in Tongues: Languages at Play in the Theatre. Michigan: University of Michigan Press.

Chaume, Frederic. (2018) “An overview of audiovisual translation: Four methodological turns in a mature discipline.” Journal of Audiovisual Translation 1, pp. 40-63. Electronic version: https://www.jatjournal.org/index.php/jat/article/view/43/3

Desblache, Lucile. (2019) How is Music Translated? Mapping the Landscape of Music Translation. Music and Translation. London: Palgrave Macmillan.

Desblache, Lucile. (2018) “From minor to major: Accessing marginal voices through music. New ways for translation?” In: Lewandowska-Tomaszczyk, Barbara (ed.) 2018. Contacts & Contrasts: Languages, Translation and Educational Contexts. Cham: Springer, pp. 143-155.

Desblache, Lucile. (2017a) “Music Translation.” In: Sin Wai, Chan (ed.) 2017. An Encyclopaedia of Practical Translation and Interpreting. Hong Kong: The Chinese University Press.

Desblache, Lucile. (2017b) “Music.” In: Washbourne, Kelly & Ben van Wyke (eds.) 2017. The Routledge Handbook of Literary Translation. London: Routledge, pp. 282-296.

Desblache, Lucile. (2007) “Music to my ears, but words to my eyes?: Text, opera and their audiences.” Linguistica Antverpiensia, New Series 6, pp. 155-170.

Dewolfe, Linda. (2001) “Surtitling operas. With examples of translations from German into French and Dutch.” In: Gambier, Yves & Henrik Gottlieb (eds.) 2001. (Multi)Media translation, concepts, practices and research. Amsterdam: John Benjamins, pp. 179-188.

Díaz Cintas, Jorge & Aline Remael. (2007) Audiovisual Translation: Subtitling. Manchester: St. Jerome.

Espasa, Eva. (2000) “Performability in translation: Speakability? Playability? Or just saleability?” In: Upton, Carole-Ann (ed.) 2000. Moving target. Theatre. Translation and cultural relocation. Manchester: St. Jerome, pp. 49-62.

Ezpeleta, Pilar. (2007) Teatro y traducción. Aproximación interdisciplinaria desde la obra de Shakespeare. Madrid: Cátedra.

Eardley-Weaver , Sarah. (2014a) “Opera (Sur)titles for the Deaf and the Hard-of-Hearing.” In: Díaz Cintas, Jorge; Josélia Neves & Diana Sanchez (eds.) 2014. Audiovisual Translation - Taking Stock. Amsterdam & New York: Rodopi, pp. 261-277.

Eardley-Weaver , Sarah. (2014b) Lifting the Curtain on Opera Translation and Accessibility: Translating Opera for Audiences with Varying Sensory Ability. Ph.D. Durham University. Electronic version: http://etheses.dur.ac.uk/10590/

Eardley-Weaver , Sarah. (2013) “Opening Eyes to Opera: the Process of Translation for Blind and Partially-sighted Audiences.” In: Ehrensberger-Dow, Maureen; Birgitta Englund Dimitrova; Severine Hubscher Davidson & Ulf Norberg (eds.) 2013. Describing Cognitive Processes in Translation: Acts and Events. Amsterdam: John Benjamins, pp. 125-145.

Eardly-Weaver , Sarah. (2010). “Opening Doors to Opera: the Strategies, Challenges and General Role of the Translator.” InTralinea Vol. 12. Electronic version: http://www.intralinea.org/archive/article/Opening_doors_to_opera_

Eugeni, Carlo. (2006). “Il sopratitolaggio. Definizione e differenze con il sottotitolaggio.” Intralinea, Vol. 8. Electronic version: http://www.intralinea.org/archive/article/il_sopratitolaggio

Greco, Gian Maria. (2016) “On Accessibility as a Human Right, with an Application to Media Accessibility.” In: Matamala, Anna & Pilar Orero (eds.) 2016. Researching Audio Description. London: Palgrave Macmillan, pp. 11-33.

Griesel, Yves. (2009) “Surtitling: Surtitles another hybrid on a hybrid stage.” TRANS 13, pp. 119-127.

Griesel, Yves. (2005) “Surtitles and translation towards an integrative view of theater translation.” MuTra 2005 Challenges of Multidimensional Translation: Conference Proceedings, pp. 1-14. Electronic version: http://euroconferences.info/proceedings/2005_Proceedings/2005_Griesel_Yvonne.pdf

Gorlée, Dinda L. (2005) Song and Significance: Virtues and Vices on Vocal Translation, Amsterdam & New York: Rodopi.

Hughes, Sally; Kathryn Warren-Norton; Pat Spadafora & Lia E. Tsotsos. (2017) “Supporting Optimal Aging through the Innovative Use of Virtual Reality Technology.” Multimodal Technologies Interact 4:23, pp. 2-7.

Huygelier, Hanne; Brenda Schraepen; Raymond van Ee; Vero Vanden; Abeele & Céline R. Gillebert. (2019) “Acceptance of immersive head-mounted virtual reality in older adults.” Scientific Reports 9. Electronic version: https://www.nature.com/articles/s41598-019-41200-6.pdf

Inclusion Europe. (2016) “Information for all. European standards for making information easy to read and understand.” Electronic version: https://easyto-read.eu/european-standards/

Kaindl, Klaus. (1997) “Die Übersetzung als Inszenierung: Ein interdisziplinärer Rahmen zur Analyse von Opernübersetzungen.” Target 9:2, pp. 271-287.

Low, Peter. (2017) Translating Song: Lyrics and Texts. London: Routledge.

Low, Peter. (2002) “Surtitles for opera. A specialised translating task”. Babel 48:2, pp. 97-110.

Matamala, Anna & Pilar Orero. (2008) “Opera Translation: An Annotated Bibliography.” Translator 14:2, pp. 427-451.

Matamala, Anna & Pilar Orero. (2007) “Accessible Opera: Overcoming Linguistic and Sensorial Barriers.” Perspectives 15:4, pp. 262-278.

Mateo, Marta. (2007a) “Surtitling nowadays: new uses, attitudes and developments.” Linguistica Antverpiensia, New Series 6, pp 135-154.

Mateo, Marta. (2007b) “Reception, text and context in the study of opera surtitles.” In: Gambier, Yves; Miriam Shlesinger & Radegundis Stolze (eds.) 2007. Doubts and directions in translation studies. Amsterdam: John Benjamins, pp. 169-182.

Mateo , Marta. (2002) “Los sobretítulos de ópera: dimensión técnica, textual, social e ideológica.” In: Sanderson, Jan (ed.) 2002. Traductores para todo. Actas de las III Jornadas de doblaje y subtitulación. Alicante: Universidad de Alicante, pp. 51-73.

Mateo, Marta. (2001) “Performing musical texts in a target language: The case of Spain.” Across Languages and Cultures 2:1, pp. 31-50.

Mele-Scorcia, Antonia. (2018) “Surtitling and the audience: A love-hate relationship.” Jostrans 30. Electronic version: https://www.jostrans.org/issue30/art_mele.pdf

Neves, Josélia. (2010) “Music to my Eyes... Conveying Music in Subtitling for the Deaf and the Hard of Hearing.” In: Bogucki, Lukasz & Krzysztof Kredens (eds.) 2010. Perspectives on Audiovisual Translation, Lodz Studies in Language. Frankfurt am Main: Peter Lang, pp. 123-146.

Oncins, Estella. (2015) “The tyranny of the tool: surtitling live performances.” Perspectives: Studies in Translatology 23:1, pp. 42-61.

Oncins, Estella. (2014). Accessibility for the scenic arts. Ph.D Thesis. Universitat Autònoma de Barcelona. Electronic version: https://www.tdx.cat/handle/10803/133314

Redzioch-Korkuz, Anna. (2018) “Constraints on Opera Surtitling: Hindrance or Help?” Meta 63:1, pp 216-234.

Redzioch-Kork uz, Anna. (2015) “Media Accessibility and opera in Poland.” In: Bogucki, Lukasz & Mikolaj Deckert (eds.) 2015. Accessing Audiovisual Translation. Frankfurt am Main: Peter Lang, pp. 149-162.

Rober ts, Amy R.; Bob De Schutter, Kelley Franks & M. Elise Radina. (2018) “Older Adults’ Experiences with Audiovisual Virtual Reality: Perceived Usefulness and Other Factors Influencing Technology Acceptance”. Clinical Gerontologist 42:1, 27-33, DOI: 0.1080/07317115.2018.1442380

Romero -Fre sco, Pablo. (2018). In support of a wide notion of media accessibility: Access to content and access to creation. Journal of Audiovisual Translation, 1(1), 187-204.

Schöne, Benjamin; Marlene Wessels & Thomas Gruber. (2017) “Experiences in Virtual Reality: a Window to Autobiographical Memory.” Current Psychology Research 106:3, pp. 1-5.

Secara, Alina. (2018) “Surtitling and Captioning for Theatre and Opera.” In: Pérez González, Luis (ed.) 2018. The Routledge Handbook of Audiovisual Translation, New York: Routledge, pp. 130-144.

Silveira, Jason M. & Frank M. Diaz. (2012) “The effect of subtitles on listeners’ perceptions of expressivity.” Psychology of Music 42:2, pp. 233-250.

Snell-Hornby, Mary. (2007) “Theatre and Opera Translation.” In: Kuhiwczak, Piotr & Karin Littau (eds.) 2007. A companion to translation studies, Multilingual Matters. Clevedon: United Kingdom, pp. 106-119.

UN. (2015a) “World Population Ageing 2015: Highlights”. Electronic version: https://www.un.org/en/development/desa/population/publications/pdf/ageing/WPA2015_Highlights.pdf

UN. (2015b) “Ageing and disability.” Electronic version: https://www.un.org/development/desa/disabilities/disability-and-ageing.html

Verve cken, Anika. (2012) “Surtitles: Types and functions.” In: Silvia Bruti & Elena Di Giovanni (eds) 2012. Audiovisual translation across Europe. An ever-changing landscape. New Trends in Translation Studies Vol. 7. Berlin: Peter Lang.

Virkk unen, Rita. (2004) “The source text of opera surtitles.” Meta 49:1, pp. 89-97.

W3C WORLD WIDE WEB CONSORTIUM. (2018) “Older Users and Web Accessibility: Meeting the Needs of Ageing Web Users.” Electronic version: https://www.w3.org/WAI/older-users/#background