a corpus-based approach to the language of audio description

ecognized) in film AD, it is in theatre audio description that practices are
sometimes more unconventional. Indeed, as reported by Udo and Fels (2009:
3) 22 “most of these guidelines tend to rely heavily on anecdotal evidence and
the historical use of a specific process, rather than one validated by published
research”. Evidence shows that unconventional audio description at theatre
involves the use of an emotional rather than an objective language and that
audio description is considered to be one of the creative components of an
entertainment experience. Audio describer Leishman used an iambic
pentameter to audio describe a Shakespeare‟s play and used a more
interpretative attitude relying on less factual information and on an emotional
language. As noted by Brocket and Ball (2004: 22) “the spectator may need
to imagine much that is merely suggested by a few set pieces, project images,
lighting, or dialogue […]” 23 .
In section 1.5 we will see how audio description has developed in
Europe and abroad and will sketch a short story of audio description in its
different application fields (cinema, DVD, TV, theatre, opera).
1.5 Short story of audio description in Europe
22 The full document is accessible at http://digitalcommons.ryerson.ca/trsitm/16 (last accessed
19/02/2011).
23 For example, to represent Hamlet‟s confused state of mind, the describer uses a maze metaphor:
“A home is now transformed into a maze/ As Hamlet passes through the castle halls/ Upstairs to
landings leading to more stairs/ Through secret chambers into hidden rooms”. For more information
about unconventional and alternative audio description strategies, see also Gerber 2007; Peli, Fine
and Labianca 1996; Sandahl 1999; Schmeidler and Kirchner 2001.
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