Mantras for Preparing Audio Description
There’s a myriad of needs and preferences among blind and low-vision patrons regarding what constitutes the best audio description; hence, it’s really subjective. So today, I’m attempting to distill the full scope of options (of what a describer ought to cover) into the fewest foolproof elements that will serve the widest range of audiences.
Like I said earlier this year in “The Art of Audio Description,” do the most with the least amount of intrusion on any given program.
In no particular order, the mantras of my practice are as follows:
What’s the point? …of the art, the story, the imagery, the movement… This question guides what exactly to pick out of the visual noise, to communicate that to the audience (some curation due to time constraints, but without summary or interpretation).
How can I help? Critical moments must override a generic play-by-play of stage activity:
- What’s getting a laugh, gasp, sob, outcry, etc from audience neighbors
- What’s an unspoken plot point: necessary for understanding the story/character arcs & relationships, especially with cause and effect and oppositions
- Example: a character glaring or grimacing when they say “I love you”
- Example: audience hears a character’s verbal ploy, which depends on other characters’ buy-in for the story to unfold. Say: “Her sisters nod their heads” to clarify that this plot point will proceed.
- Anything that stokes confusion or contradiction with the dialogue/sounds
- unexplained sounds
What tells the story? Facial expressions, nonverbal body language during pauses in dialogue, objects, etc.
- If a set piece (or prop, etc) will be repeatedly used or featured, make sure you’ve done your homework to accurately name/describe it to keep the audience in the world of the play.
- It’s okay to say if no one has moved. Stillness and silence are storytellers, too.
When is there time/space/opportunity to speak? I’ve found that having a printed script helps me score and anticipate consistent pauses in dialogue/lyrics so I can plan ahead for them and surge in with details.
- This (ideally) prevents lags and empty spaces squandered due to trailing behind while getting bogged down with narrative play-by-play of “filler” activity in real time.
- Also helps to know when characters address each other by name in the dialogue so the description doesn’t repeat or echo the info.
Take what’s useful, and leave the rest behind! I’d love to hear about your creative and preparation practice in the comments.
