From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: Supertitling
Date: 11 Sep 92 14:05:56 GMT
Article-I.D.: dscatl.46978
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Sep9.020719.16782@credence.com> jeffw@or.credence.com (Jeff Winslow) writes:
>In OPERA, April 1992, "Sense, Condoms, and Integrity", David Pountney, 
>director of productions at English National Opera, writes many sensible
>things against surtitles, however, since his company gives operas in the
>language of the audience, he has a very easy time of it.  The following
>remarks, in the context of performances in languages foreign to the
>audience, leave something to be desired...
>
>[Thanks to Jon Conrad for typing all this stuff in!]
>
>>But why *not* have surtitles?  Why not, for instance, contradict the
>>efforts of the theatre architects who have spent centuries perfecting
>>designs which concentrate the audience's attention on the stage, by
>>installing little flashing screens in a part of the proscenium that was
>>specifically designed to be looked at only during the interval?...
>[...]
>And does he really believe that a theatre designer, on hearing that someone
>looked at this repulsive part of the proscenium during an act, will smite
>his forehead, wince painfully and own himself a failure?

Probably not, when designs have been faithfully executed so that
a goodly part of an audience can see (for one instance) only half of
one of Fafnir's nostrils.  :-) 

>>Why not, for instance, contradict the efforts of the composers and
>>dramatists who have striven to integrate music, text, and action into
>>one concentrated thread by isolating one element miles above our heads?
>
>Because the integration and concentration is improved for a certain large
>segment of the audience by doing so? (And, miles, my ass.)

One might also (and it has been) argue that extensive emphasis on
"total theatre" production values detract from the essentials of
singing and drama.  One may not necessarily argue that, but it is
conceivable.

>>Why not render useless the priceless comic timing of our singers by
>>making the audience laugh at the crib sheet instead?
>
>The one good jab in this section of the article. This could be improved
>with technique at the projector.

One then also has the priless comic timing of the projectionist.
(And why not?)

>>Why not, for instance, have surtitles also describing the nature of the
>>music: "This bit is in F major," etc. etc.
>
>Because none of those bits of information are necessary for the comprehension
>of the performance.

Some other things, though, like the setting (Hell, 1795) might be
useful as in film.  Crossfading credits during the overture might be a
bit too much.

>						Jeff Winslow
>
>PS. It occurs to me that surtitles could be made less distracting but
>nearly as readable through judicious choice of foreground and background
>colors - does anyone know of experimentation on this?

Yes.  Foreign films have perfected the practice of white letters
on light backgrounds and black letters on dark backgrounds. :-)
It's a long-standing tradition.
(Now if we can get opera to have a "grainy" look and have the
words not match the lip movements, we're in business :-))


Cheers,

--Mark Gresham
(In a rare foray into the world of opera.
...and if he sees his shadow,  we'll have six more weeks of
winter.)

dscatl!mgresham@gatech.edu

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