Signing Shakespeare

Welcome to celebrate creativity - episode 426 - Signing Shakespeare

In graduate school, I did a master thesis called Signing Shakespeare regarding interpreting the works of Shakespeare and Performance into American Sign Language for the deaf.  Now the problem is that the language of the paper was certainly appropriate for graduate School, but way over the head of the normal, average person - in other words the language was far too high falutin and made up of words almost guarantee to put you to sleep.  It did have some good ideas - but was far too boring.

I liked the content of the paper, so I asked Gemini if it could help me adapt my thesis for a seventh grade reading level to make it more understandable.  I entered my request, and Gemini replied -

Thank you for experiencing Celebrate Creativity.

Transcript

Welcome to celebrate creativity - episode 426 - Signing Shakespeare

In graduate school, I did a master thesis called Signing Shakespeare regarding interpreting the works of Shakespeare and Performance into American Sign Language for the deaf.  Now the problem is that the language of the paper was certainly appropriate for graduate School, but way over the head of the normal, average person - in other words the language was far too high falutin and made up of words almost guarantee to put you to sleep.  It did have some good ideas - but was far too boring.

I liked the content of the paper, so I asked Gemini if it could help me adapt my thesis for a seventh grade reading level to make it more understandable.  I entered my request, and Gemini replied -

And Gemini answer - I understand you want to adapt your 61 page thesis document for a seventh-grade reading level to create a group of podcast episodes. I can certainly help with that, but I need to clarify how we can work together given my current capabilities.

And this was interesting - Gemini was seeming that it was setting down some ground rules for collaboration.

In Gemini said - and when I say Gemini said, I am referring to the reply in the text box - As a large language model, I don't have the ability to directly "upload" or receive files like a traditional application. However, you can achieve your goal by copying and pasting the content of your document into our chat interface in smaller, manageable sections.

Here is a step-by-step approach to get started:  And I wanted to include the following to let you know a little bit more about how the AI works.

Gemini said - Break Down the Document: Copy and paste the content from your word processing document into the chat in sections. A good rule of thumb is to start with a few pages at a time. This allows me to process the information effectively and provide you with a more accurate and coherent revision.

Provide Clear Instructions: For each section you paste, provide me with explicit instructions. For example, you could say: "Please revise this text to a seventh-grade reading level, focusing on simpler vocabulary and shorter sentences, while maintaining the original meaning."

Iterate and Refine: Once I provide the revised text, you can give me feedback. Let me know if there are specific parts you want me to simplify further, or if you'd like me to focus on a particular tone. We can work together to refine the language until it perfectly suits your podcast series.

This method allows us to collaborate on the project piece by piece, ensuring that the final output is exactly what you envision for your podcast.

And I asked Gemini:

Great, that is fantastic - about how many pages do you think you can handle at a time

And Gemini answered:

There's no hard limit on the number of pages I can handle at once, but for a 61-page document, I would recommend breaking it down into smaller chunks for the best results.

Pasting a large amount of text at once can sometimes lead to a less focused or less complete revision. To ensure each section is translated effectively and accurately, I suggest starting with a few pages at a time. 

This allows me to: Maintain Context and Cohesion: By working in smaller sections, I can better track the flow of ideas and ensure the seventh-grade level text remains coherent and logical.

Provide More Accurate Revisions: Focusing on a manageable amount of text helps me pay closer attention to specific vocabulary, sentence structure, and the overall tone you want to achieve.

Allow for Better Feedback and Iteration: This method makes it easier for you to review my work and provide specific feedback on each section. We can refine the text as we go, rather than waiting until the entire document is revised.

Let's try starting with the first 5-10 pages and see how that feels. We can adjust the size of the chunks as we go, based on what works best for you and your document.

And I replied - that works for me!

A Gemini said - Great, I'm ready when you are. Just copy and paste the first 5-10 pages of your document here, and I'll get started on simplifying it for a seventh-grade level.  I will focus on simpler vocabulary and shorter sentences, while maintaining the original meaning.

And after a few seconds, the following words appeared across the screen -

With the passage of the Americans with Disabilities Act (ADA) in 1990, theatrical companies and venues must provide access to theatrical patrons with disabilities. Often, efforts to meet ADA regulations concentrate on providing access for individuals with mobility concerns, such as the installation of  elevators, ramps, and handrails. Except for any possible financial hardship, such endeavors are relatively easy to implement. Providing interpreting services to make Shakespeare accessible to Deaf individuals, however, is a comparatively complex task, and is seldom addressed. This paper deals with the process of interpreting Shakespeare's plays from the source language (Shakespeare's English) into American Sign Language.

An old maxim in American Sign Language is “sign what you mean, not what you say.”  This belief is especially true in interpreting Shakespeare for the Deaf, where conveying the appropriate concept is the most important task facing the sign language interpreter.  An informed translation can also communicate the dynamics of Shakespeare's language to a Deaf audience while making accessible some of the most beautiful words ever written.

  Medical  Versus Cultural Views of Deafness: Having the Right Attitude

An understanding of the medical versus cultural view of Deafness is essential to developing the attitude that an individual must develop to become a credible performing arts interpreter. The medical view of Deafness sees most deaf people in terms of deficit – “broken” and “abnormal” versions of hearing persons. The cultural view sees Deaf people as whole individuals with an identity, language, and unique gifts. A medical view would tend to view most Deaf persons as “not capable of understanding Shakespeare.” The medical view would tend to see English as a superior form of communication, and a Deaf person can only appreciate Shakespeare as a foreign language.  The cultural view recognizes that American Sign Language is a unique language, and that Deaf people are worthy of respect. The cultural view would tend to view Shakespeare as relevant to the Deaf because of his understanding of people and his greatness as a writer.  The cultural view would therefore believe that his language should be made culturally accessible.

The Sign Language Continuum: From Signing Exact English to ASL

At one end of the sign language continuum are sign languages exemplified by Signing Exact English, where every word and word ending is signed in English word order.  This form of interpreting is impractical in performing arts interpreting because it is aesthetically unpleasing and takes at least twice as long to sign.  Signing Exact English ideally shows every word and word ending, and while excellent in situations where it is important to understand every word in English, its use in interpreting Shakespeare is more theoretical than practical.  The result of signing a play by Shakespeare in Signing Exact English is that the interpreter quickly falls behind the actors.

At the other end of the spectrum is American Sign Language (ASL), the language used by the vast majority of the Deaf Community in the United States and Canada.  American Sign Language is composed of manual gestures called signs in combination with various types of non-manual grammar (mouth morphemes, appropriate facial expression, body movement, etc.)  ASL is a separate language, and has a grammar that does not reflect the grammar of English.  ASL is the form of sign language that most Deaf people use among themselves, and could be considered the natural language of the Deaf.  
The Structure of ASL: A Language All Its Own

Like all sign languages, American Sign Language has both iconic and arbitrary features.  The sign for “baby that is used as the basis for “barne”  in The Winter's Tale (3. 3. 69) resembles the action of rocking a baby, and could be classified as a “universal gesture.” Iconic signs look like and often pantomime the signs they represent.   American Sign Language also has “the same arbitrary, structural organization that is attributed to spoken languages”, with is own unique linguistic organizational principals.  An example of an “arbitrary” sign is the sign for “why” as used in “why is he not, then” (The First Part of King Henry the Fourth, 2.3.5) The sign for “why” is composed of specific hand movements and formations that do not resemble the English concept. The challenge for the sign language interpreter of a play by Shakespeare is to effectively combine the iconic and arbitrary organizational principals of American Sign Language in an informed translation.

American Sign Language evolved from a blend of Old French Sign Language and what is now called “Old American Sign Language.” Some kind of sign language was used in the United States well before Laurent Clerc brought French Sign Language (FSL) to the United States in 1817. ASL is therefore a combination of FSL, and “American” signs. It is estimated that over 60% of the signs in ASL originated in France.

English has a comparatively stable structure in most sentences with, subject, verb, object.   Unlike English, ASL has a syntactical flexibility in other words - the word order can vary according to emphasis.  The English that we use today, with its use of sounds, words, and sentences, tends to be more sequential than ASL. The flexibility of syntax in ASL resembles the flexible nature of the English used in Shakespeare's language.

American Sign Language uses the entire body as an integral part of communication to convey information.  A good interpreter can use the multi-dimensional characteristics of ASL to amplify the text and match the style of the actor.  For example, in King Lear, 3.2.1, Lear uses his entire body to “become' the wind in his “Blow winds, and crack your cheeks!” speech.  

Unlike English, signs in ASL can be signed differently depending on the concept's context and meaning. Where English might use one word for two different meanings of “meet,” as in “If you do meet Horatio and Marcellus,” (The Tragedy of Hamlet, Prince of Denmark, 1. 1.13) and  “For such a guest is meet” (The Tragedy of Hamlet, Prince of Denmark, 5 .1. 90),  ASL would use a different sign for the two meanings of “meet” - “to physically meet” and “appropriate” in this case. 

Then Gemini said

I've focused on using simpler words, shorter sentences, and clearer explanations while keeping the original meaning.  Is that what you want?

And I answered - Yes - your output is very good - right on target!

And Gemini replied - Perfect, I'm glad that works for you! The goal is to make the language accessible without losing the original ideas, so your feedback is very helpful.

Feel free to paste the next 5-10 pages whenever you're ready. I'll be here to continue the revision process.

ASL  as a Topic/Comment Language: “Dagger, Do I See?

Many sentences in ASL exhibit the structure of a topic/ comment language. With a topic/comment structure, a line such as “Is this a dagger I see before me” (The Tragedy of Macbeth, 2.1.5) could be translated “dagger, do I see?'  There is no formal sign for “dagger” in ASL, so the interpreter would need to use a compound sign such as “knife, protection.”  The play's context would inform the Deaf audience that the signer is not referring to a switch-blade knife. Raising the eyebrows to signify a rhetorical question in ASL while the interpreter signs “see” signifies that the actor does not expect an answer.  Raising the eyebrows is a non-manual motion in ASL that also accompanies yes/no questions, so this grammatical structure underlines the illusionary quality of the dagger, and underlines the existential situation faced by Macbeth.

Interpreting Shakespeare: Not For Every interpreter

Not surprisingly, interpreting a play by Shakespeare requires a high level of sign language competency on the part of the interpreter.  The interpreter should feel comfortable acting because in a very real sense he or she will be taking on all the roles in the play.  Even if the interpreter is an excellent performing arts signer, Shakespeare requires a genuine attention to detail so that the interpreter can communicate the meaning of the text.

It would be impossible to give specific examples of how to sign everything in a play by Shakespeare.  Since each interpreter has his or her own style, slavish imitation of another interpreter way of signing would be a hindrance to communication.  The interpreter needs to develop a personal style based on understanding of ASL linguistics and the world of Shakespeare. This paper serves as an overview of the linguistics of ASL as the study relates to signing Shakespeare, and as a practical introduction to an area that is in its infancy.  For example, when an individual understands the topic/comment concept discussed in the previous section, it becomes second nature to translate  “Where is the crown? (The Second Part of King Henry the Fourth, 4.5.63) to “crown, where?”

Obviously a single  paper and DVD could not specifically address every dimension of Shakespeare's wealth of writing, but it is hoped that this research and a video transcription of the translation will serve as a frame of reference for the skilled interpreter to learn from and extrapolate for his or her own situation.  The translation will be referred to as “a” way of translating Shakespeare because it would be ridiculous to think that any subjective translation of Shakespeare is definitive and captures all the nuances of William Shakespeare.  In recognition of this fact, an examination of the issues surrounding an ASL translation demonstrate that the best translation of Shakespeare can only be “a” translation.
 
All spoken and signed languages are constantly undergoing slight changes – in syntax, grammar, and vocabulary.  In the course of the five hundred years since Shakespeare's wrote his plays, changes in language have resulted in a tremendous cumulative effect. Today's playgoer can therefore enjoy and revel in an archaic English that displays a “foreignness,” as well as linguistic beauty. 

Positioning of the Sign Language Interpreter: Acoustics for the Deaf

Despite their importance, the communication skills of the interpreter and linguistic issues involved in a translation are often less important than the positioning of the interpreter - in other words where he or she is on stage. Just as good acoustics are necessary for a hearing person to hear a play's actors, the location of the interpreter is essential for a Deaf person to understand the play's text.  The best translation and interpreting efforts are useless if the interpreter cannot be seen easily.  In the words of interpreter Dan McDonall, “Just as in real estate, interpreting in the theatre often comes down to three key issues: location, location, location.” 

Placed Style: The Most Common Strategy

The “placed” style of interpreting is the most common interpreting strategy in a play by Shakespeare, and requires the least rehearsal time. In the placed style, the interpreter  is located outside of the acting space, and seldom changes location.  The interpreter is outside of the acting space, stage left or stage right, or on an area of the floor of the of house near a reserved area for the Deaf audience.   Usually an interpreter requires a spotlight so he or she can be seen, but the relatively small size of the Blackfriar’s Playhouse in Staunton, Virginia, for example, as well as its use of the staging practices that Shakespeare used make a spotlight unnecessary  

Zoned Interpreting: Putting the Interpreter in the Action Zone

In “zoned” interpreting, the interpreter is located within the acting space, but usually moves only during a change of scene or act, or during an especially dramatic section for emphasis.  The goal is to place the interpreters within the same "zone" as the majority of the action, therefore making it easier for the Deaf patrons to see the interpreters and actors at the same time. An example of this placement was a 2002 production at the Blackfriars of  The Tragedy of Julius Caesar.  During Act III, for example, the actor playing Marc Antony ran up to the second level, while the interpreter accompanied him, and stood beside the actor to sign the 'friends, Romans, and countrymen” (The Tragedy of Julius Caesar, 3.2.78) speech over Caesar's body. 

Shadow Interpreting: “Killing” the Interpreter on Stage

The state of the art strategy for interpreting a play is the shadowed style where interpreters move freely within the acting space, shadowing the movement of the actors.  This is the most inclusive style of interpreting a play and provides the best sight lines for the Deaf audience,  The shadowed style of placement requires that the interpreter be “blocked” into each scene and literally shadow the actors.  This style of interpreting is by far the most “Deaf friendly,” and provides the opportunity for a great deal of creativity.  While elements of the “zoned” style often overlap the “shadowed” style, this strategy can allow for a great deal of creativity by integrating the interpreter into the action of the play.  During a 2001 production of The Life and Death of King Richard the Third at the Blackfriars. the actor playing Richard (after killing the other actors on stage), raced to the interpreter stage right and ran his sword into the interpreter.  The interpreter fell to the floor, only to come back to life to sign the “a horse, a horse, my kingdom for a horse'” (The Life and Death of King Richard III,  5. 4. 6) speech and then die again.  In a miraculous series of regenerations, the interpreter kept coming “back to life” to sign any additional lines until he did not have any more lines to sign. 

A major drawback of this infrequently used style is that there is constant possibility that the interpreter will stumble over an actor.  In its purest form, the shadowed style of interpreting requires an interpreter for each cast member, a process that most theatre companies would find cost prohibitive.  In the shadowed style, he interpreter often takes on alter-ego like qualities, and both the Deaf and hearing audiences tend to see an interpreter as someone adding another dimension to communication, instead of being an appendage.  This style of interpreting is generally only mounted by groups having an extremely strong commitment to accessibility, as well as some deep pockets.

Word Challenges Facing the Interpreter:Keeping Up With the Bard

A major challenge facing the sign language interpreter is Shakespeare's use of words. As culled from his works, Shakespeare's vocabulary was upward of 17,000 words (quadruple that of an average, well-educated  conversationalist in the language). In the words of Louis Marder, "Shakespeare was so facile in employing words that he was able  to use over 7,000 of them—more than occur in the whole King James version of the Bible—only once and never again.”

Many of the words Shakespeare used have changed greatly in meaning.  Since “nice” in Shakespeare's time usually meant “diffident” or to express distinction, (Riley, 137) a sign language interpreter today could not sign “nice” in a play by Shakespeare as in “Have a nice day” and be conceptually accurate.  “Fond” today denotes affection, but to Shakespeare the word would have meant “foolish.” (Riley, 137.)  And many words that Shakespeare used in his plays have completely disappeared from most vocabularies today.  Few individuals use words such as orgulous (haughty), micher (a petty thief), or slubber (to be clumsy or messy) in everyday conversation today.

Clearly the sign language  interpreter will need to a great deal of research to find out what the words mean in a play – fortunately there are many annotated versions of Shakespeare that help in understanding the play’s nuances.  This is not the kind of interpreting that an interpreter can do on the spot without preparation.

Well, I think that might be as good a place to stop as any.

Join celebrate creativity for episode 427 do I hear the hungry lion roar?
 - a continuation of this special look at interpreting a Shakespearean play into American Sign Language

Sources Include:  Asimov's Guide to Shakespeare: A Guide to Understanding and Enjoying the Works of Shakespeare by Isaac Asimov, American Sign Language: A Teacher's Resource Text on Grammar and Culture by Charlotte Baker and Dennis Cokely, Shakespeare: The Invention of the Human by Harold Bloom, and Shakesfear and How to Cure It, an unpublished manuscript by Ralph Cohen.

Thank you for listening to celebrate creativity.