Painted with Unnumber’d Sparks: Sign Language translation ideologies for Shakespeare’s works
This panel will feature several presenters well versed in translating Shakespeare into sign language, specifically American Sign Language (ASL) and British Sign Language (BSL), discussing their respective approaches to translating Shakespeare’s works for an audience that relies upon visual language rather than the spoken word.
Different ideologies and rationales will influence the choices made in translating text/performance into sign language, and the culture of theatre and the Deaf communities in the U.S., Canada, and the UK will also be featured as factors to be considered in this field of study.
The variety of productions based upon Shakespeare’s works may seem as numerous as the stars in a galaxy, and the sign language translations for each production is as unique as each star is, yet there is research in progress on how to take a more linguistic approach to translating Shakespeare for general consumption in sign language, rather than re-invent the wheel for each individual show performed from Shakespeare’s canon and all its limitless adaptions.
The presenters participating in this panel are all experienced in both the theoretical and practical aspects of sign language translation, and through their own experiences and expertise, have developed ideologies that reflect current attitudes in theatre inclusivity and diversity, the ever-changing nature of modern sign languages and the revered Early Modern form of Shakespeare’s writing, and bridging the sociolinguistic gap between both.
Some problems/issues the panelists will be addressing will include:
The key to successful translation is rooted in idiomatic conveyance of the message, not an attempt to retain form. Yet Shakespeare’s form is an integral part of experiencing his work; the language, meter, and imagery, not just the stories themselves. How then, can a visual language convey those elements in a way that will do Shakespeare’s style justice and yet remain easily understandable for a Deaf patron who may or may not be at all familiar with Shakespeare’s language?
Sign languages are concept-based languages, not lexicon based. One sign can be used to equate any number of English synonyms, but given that Shakespeare incorporates a diverse range of vocabulary, including ones that were coined at the time of writing, what other aspects of sign language syntax, paralinguistics, and expression can be utilized to reflect the lexical depth of Shakespeare?
Access to Shakespeare through sign language translation is relatively new on a global scale; in Italy, translating Shakespeare’s plays into Italian Sign Language (LIS) has only been done within the last two decades. BSL translations did not begin in earnest until the 1970’s, not too far behind ASL translations in the U.S., with the earliest documented ASL performance of Shakespearean text taking place in the 1950’s. This means that interest in Shakespeare as a patron, scholar, or student has been historically proportionally lower in the Deaf community. How can the translation work and research being undertaken by the panelists and others in the field be disseminated effectively into the Deaf community, therefore increasing the contributions to this universe of language modality and access to Shakespeare’s work?
Peter Novak, University of San Francisco
The Epistemology of Silence: Twelfth Night in American Sign Language
This paper (with video examples) explores the planetary reach of Shakespeare through the unique medium of American Sign Language (ASL), highlighting how digital technology enables ASL to offer a four-dimensional reinterpretation of Twelfth Night. By examining the challenges and innovations in translating Shakespeare into ASL, this study underscores the intersection of language, technology, and cultural identity. The translation process, captured exclusively through film, not only expands Shakespeare’s global accessibility but also challenges traditional notions of textual primacy, offering new avenues for understanding Shakespeare’s relevance in a digitally connected, post-human world.
Janet Guest, Association of Sign Language Interpreters/THEATRESIGN
To Sign or Not to Sign: Translating Shakespeare into British Sign Language (BSL)
This paper discusses the intricate challenges of translating Shakespeare into a visual language. The translation process, while rewarding, can be daunting. This paper outlines the complex process of translating the original text, what the words meant then, and the importance of the work for the Deaf audience. Because the Deaf patrons are not listening to the words, the opportunity exists for ‘show me don’t tell me’ using BSL Visual Vernacular (VV). This paper, and discussion with other translators, may foster understanding of the process that interpreters may face and the benefits then reaped by Deaf and hearing audiences alike.
Katherine Williams (co-author/co-presenter with Andrew Morrill), University of Toronto
The New Lexicon: Transfiguring ASL Poetics and Shakespeare’s Verse
This paper will explore emerging trends in translating Shakespeare into American Sign Language, contributing to creative collaboration and the expansion of ASL Shakespeare lexicon. Sharing their experience working together as experts in acting, linguistics, poetics, and Shakespeare studies, the co-authors will detail how this creative collaboration reinvents the translation process and offers fresh perspectives on familiar Shakespeare text by discussing their findings from Titus Andronicus and As You Like It. The challenges and opportunities of exchange between artistic and scholarly expertise highlight dialogue on best practices and future directions for translation, enhancing the effectiveness and inclusion of ASL in Shakespeare.