Thomas Ostermeier's electrifying Shakespearean creations at the Barbican theatre in London used a German translation and English surtitles, with occasional switches into English for ad-libs and soliloquys.
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In a final layer of confusion, the English lines and surtitles are peppered with 21st-century references to Advil, limousines and bikini tops, while the 17th-century French is mostly left alone.
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Marketing materials for the show made much of its claim to be the first bilingual production on a West End stage (there have been others elsewhere in London), with English surtitles for the French sections and vice-versa.
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In 2001, the fiftieth festival was a special event marked by the introduction of surtitles.
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The two possible types of presentation of surtitles are as projected text, or as the electronic libretto system. Titles in the theatre have proven a commercial success in areas such as opera, and are finding increased use for allowing hearing-impaired patrons to enjoy theatre productions more fully. Surtitles are used in live productions in the same way as subtitles are used in movie and television productions.
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Promotional image from the London production, illustrating audience members seating on onstage sofas, and the use of live video of the actors. Roman Tragedies condenses three of Shakespeare's plays into a single 6-hour production. The actors speak Dutch; surtitles are used when touring the production. The surtitles do not present Shakespeare's original text, but rather a lightly modernized adaptation that removes archaisms; only the most famous lines are left untouched.
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This production of Bizet's hot-blooded opera is to be sung in French with English surtitles and features a new set by Felix Bessonov based on the city of Seville.
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Surtitles can be a distraction, focusing attention on the titles instead of the stage. Therefore, several systems have been developed to provide captions visible only to those individual viewers who wish to see them.
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Peattie was publications editor at Welsh National Opera, before leaving to help launch Opera Now magazine, and then going freelance, creating Opera Bites for Glyndebourne, surtitles for Scottish Opera and supertitles for the Royal Opera.
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Both products (app and glasses) are by MovieReading. In 2011-2012, the Royal Opera House Muscat carried out the most advanced multilingual custom display system to date, interactive and integrated to surtitles screened on a central LED panel.A Radio Marconi project.
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From 1976 through 1988 Mansouri worked as the general director of the Canadian Opera Company in Toronto, Ontario. Mansouri introduced surtitles for the January 1983 staging of Elektra, and this is generally regarded as the first use of such a translation system.
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Operas are performed either in English translation or in the original language of the libretto, in the latter case usually with surtitles. The major funders of Opera North include Arts Council England and, in Yorkshire, Leeds City Council, West Yorkshire Grants, North Yorkshire County Council, and East Riding of Yorkshire Council.
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A blank surtitle screen visible above the stage at the Royal Opera House, Covent Garden Surtitles, also known as supertitles, SurCaps, OpTrans, are translated or transcribed lyrics/dialogue projected above a stage or displayed on a screen, commonly used in opera, theatre or other musical performances. The word "surtitle" comes from the French language "sur", meaning "over" or "on", and the English language word "title", formed in a similar way to the related subtitle. The word Surtitle is a trademark of the Canadian Opera Company. Surtitles was introduced in the 1990s to translate the meaning of the lyrics into the audience's language, or to transcribe lyrics that may be difficult to understand in the sung form in the opera-house auditoria.
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The same year, her play for children, The Lone Pine Club, premiered as a touring production. Birch adapted the story from Malcolm Saville's children's books. Birch's Ophelias Zimmer (Ophelia's Room, in English) premiered at the Schaubühne in Berlin in December 2015. The play made its debut in England in early 2016 but was performed in German with English surtitles.
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She wrote surtitles or subtitles for the Washington National Opera, La Scala in Milan, and the Public Broadcasting Service's series Great Performances. She joined the editorial staff of Opera News in 1998,"Obituaries – Sonya Haddad" (with picture) by Brian Kellow, Opera News, vol. 69, no. 3, September 2004 and was a research associate for the magazine until her death in 2004.
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The production also featured the American Midwest premiere of English surtitles. In 1985 the company moved to The Fisher Theatre for its autumn season and staged West Side Story'Torch Bearers' To Open Repertoire Theatre Season: Backstage Notes The Blade. August 20, 1985. Accessed May 4, 2010 which received an extended run and became one of Michigan Opera Theatres top grossing productions.
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Town Hall Theater, Home of the Opera Company of Middlebury Opera Company of Middlebury (OCM) is an American opera company in Middlebury, Vermont, founded in 2004. The company presents two operas per year at Town Hall Theater. All productions are presented in their original language, with surtitles projected over the stage. The June 2018 production was André Previn's A Streetcar Named Desire.
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The most familiar types are translations presented as subtitles or surtitles projected during opera performances, those inserted into concert programs, and those that accompany commercial audio CDs of vocal music. In addition, professional and amateur singers often sing works in languages they do not know (or do not know well), and translations are then used to enable them to understand the meaning of the words they are singing.
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Surtitles, projected onto a screen above the proscenium, are used for all opera performances and some lieder concerts. The electronic libretto system provides translations (to English, Spanish or Catalan) onto small individual monitors for most of the seats. During the COVID-19 pandemic in 2020, the opera house marked Spain's lifting of regulations by playing for an audience of 2,292 plants. The event was livestreamed on social media.
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Even more so, in the live performing arts, the presence of multilingual options on custom individual devices (Santa Fe Opera, 1998)Figaro Systems introduced in 1998 at Santa Fe Opera a custom multilingual display system recalling the aircraft video display units; this system has been lately adopted, through different companies, by some of the most prominent international theatres, such as Copenhagen, Milan, Moscow, Muscat, New York, Oslo. or on mobile consumer devices (Teatro del Maggio Musicale Fiorentino, 2011) OperaVoice, in the Maggio Musicale Fiorentino Theatre’s season 2011-2012, developed a wireless multilingual transmission system which is to use mobile consumer devices owned by the audience (smartphones and tablets), and is also interfaceable with projected surtitles. or on hybrid solutions (Royal Opera House Muscat, 2012),Radio Marconi, in 2011-2012, realized for the Royal Opera House Muscat the most advanced system of custom multilingual interactive displays integrated to surtitles on LED panel. makes the spatial connotation of the term "sur-titles" inappropriate.
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Audience etiquette is generally similar to formal western theatre—the audience quietly watches. Surtitles are not used, but some audience members follow along in the libretto. Because there are no curtains on the stage, the performance begins with the actors entering the stage and ends with their leaving the stage. The house lights are usually kept on during the performances, creating an intimate feel that provides a shared experience between the performers and the audience.
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Glyndebourne Festival Opera Visitors' Information ; Garsington Opera Visitors' Information Operas are often performed in their original language with English surtitles. In 2017 the Philharmonia Orchestra became a resident orchestra at the Festival, playing for one production per season, with the Garsington Opera Orchestra continuing to play three productions per year. From 2020 the Philharmonia Orchestra will be joined by The English Concert as the two resident orchestras, sharing the four productions annually.
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However, the 2007/2008 season introduced surtitles for the first time. Financial difficulties in early 2007 threatened to close the company or severely curtail its 2007/2008 season to one opera. However, these were overcome, and the 2007/2008 season of three operas opened as planned on 13 December 2007 with Verdi's I due Foscari.Matthew Westphal, Opera Orchestra of New York Launches Season with Verdi's I Due Foscari at Carnegie Hall, Playbill Arts, 13 December 2007.
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Opera Lyra Ottawa (OLO) was a non-profit professional opera company based in Ottawa, Ontario, Canada. It was founded in 1984 by Canadian soprano Diana Gilchrist after the demise of the National Arts Centre's annual summer opera productions. The company performed fully staged and concert version operas in their original language with French and English surtitles at the National Arts Centre as well as running outreach and young artist programs. As of 14 October 2015, Opera Lyra has ceased operations.
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This sounds nearly sado-masochistic in a Punch and Judy way, and that was unexpectedly what kept the group of onlookers for the most part in join in spite of the dismal topic. Gaustave Vaëz's French lyrics was sung with anticipated English surtitles which extraordinarily improved the experience.. Féte Blanche, Baroque Music in White: This production was staged at Esplanade, Recital Studio on 8 January 2016. 2015: House of Horror. This production was staged at Esplanade, Recital Studio on 29 October 2015.
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Ashes to Ashes is a 1996 play by English playwright Harold Pinter. It was first performed, in Dutch, by Toneelgroep Amsterdam, the Netherlands' largest repertory company, in Amsterdam, as part of its 1996–1997 season, and directed by Titus Muizelaar,Ashes to Ashes , Toneelgroep Amsterdam Archived Webpage. Accessed 28 September 2008. who reprised his production, in Dutch with English surtitles, as part of a double bill with Buff, by Gerardjan Rijnders, at the Riverside Studios, Hammersmith, from 23 through 27 June 1998.
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For this production, Roth commissioned an Arabic translation for the conversations between the Palestinian couple. The show was presented in Arabic and Hebrew with English surtitles... The talkback sessions were held with different panels of scholars, artists, and activists, a total of 44. COPMA (Citizens Opposed to Propaganda Masquerading as Art), a local group formed to protest the play criticized it as anti-Israel and appealed to a major donor to cut off funding. It also objected to the Peace Cafe.
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The performances took place in Gallaudet's Eastman Studio Theatre. The action interweaves three plot lines: the conflict between Edwin Miner Gallaudet and Alexander Graham Bell on the future of the education of the deaf; Gallaudet's efforts to get Congress to fund a Teacher's College at Kendall Green (which became Gallaudet University); and Bell's initial meeting with Helen Keller, whom he taught to speak using his Visible Speech method. The musical requires most of the cast to be bilingual (English and ASL), and the performances had surtitles throughout.
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In 1999, as an alternative to installing a translation system using the projected supertitles (or surtitles), an electronic titles system was installed in the Crosby Theatre. Invented by Figaro Systems of Santa Fe (and only the second one installed after the Metropolitan Opera's Met Titles in 1995), the system provides small rectangular electronic screens in front of each patron's seat, showing a two-line translation of the sung text in either English or Spanish. The system has the possibility of handling up to six languages.
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In 1986, the company moved into the National Arts Center's 897 seat Theatre, with a production of The Barber of Seville. 1987 was Gilchrist's fourth year as Artistic Director and her final opera at the NAC was The Elixir of Love, conducted by Dwight Bennett. Jeannette Aster became Artistic Director in 1987 when Gilchrist moved to Europe for professional engagements singing Queen of the Night, Zerbinetta and other coloratura roles. The 1990 production of Madama Butterfly marked the first time the company performed an opera in its original language with French and English surtitles.
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Having sung Orphée in the Berlioz version at the Opéra studio in 2011, she reprised the part at the Opéra-Comique in 2018. In February 2017 for the Opéra Comique, she appeared in the title role of the company's production of Fantasio by Jacques Offenbach at the Théâtre du Châtelet. The Opera critic commented that "tall and lanky in britches or cropped trousers, she brought her lovely, focused mezzo to her portrayal of the penniless student" while noting that her "diction, however, too often encouraged recourse to the surtitles".Blanmont, Nicolas.
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The Keller Auditorium, Portland Opera's principal performance venue Portland Opera is an American opera company based at The Hampton Opera Center in Portland, Oregon. Its performances take place in the Keller Auditorium and Newmark Theatre, both part of the Portland Center for the Performing Arts. Portland Opera also produces a separate subscription series of touring Broadway musicals, which also take place at the Keller Auditorium. Portland Opera was one of the first opera companies to introduce surtitles in its productions,Norberg (October 31, 2007) and has presented several world and US premieres.
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300x300px Nicholas Goldschmidt and Herman Geiger-Torel founded the organization in 1950 as the Royal Conservatory Opera Company. Geiger-Torel became the COC's artistic director in 1956 and its general director in 1960. The company was renamed the Canadian Opera Association in 1960, and the Canadian Opera Company in 1977. Geiger-Torel retired from the general directorship in 1976. Lotfi Mansouri was the COC's general director from 1976 to 1988. In 1983, the COC introduced surtitles (supertitles) to their productions, the first company to use them in an opera house.
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The world premiere of Simón Bolívar on 20 January 1995 at the Harrison Opera House in Norfolk was conducted by Peter Mark. The production, using the Spanish version of the libretto with English surtitles was directed by Lillian Garrett-Groag with sets by John Conklin, costumes by David Murin, and lighting by Mark Stanley. The opera ran for five performances in Norfolk and then moved to Richmond, Virginia for a further two performances. The premiere production was also recorded for later broadcast on National Public Radio and the BBCNicholson, David (15 January 1995).
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After a successful test run in 2015, the French-German surtitling company Panthea launched a pilot project on a larger scale introducing multilingual surtitles on smartglasses to the Festival d’Avignon 2017. The system was the subject of a study which was later published by the French Ministry of Culture. The device became commercially-available the following year and was tested by several houses, such as the Opéra de Paris. The Theatre Times' test user report that: “Supertitles are displayed on the lenses during the performance so that you can concentrate more on what is happening on the stage rather than reading supertitles.”.
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The students who act in them receive no formal training in speaking Ancient Greek, and have only nine months to learn the lines and direction, while keeping up with their other studies. The amphitheatre was based on that at Epidaurus and built in a disused chalk pit. It opened in 1890 with a performance of Antigone. The 2006 play, Euripides’s Medea, directed by John Taylor, was noted for including the addition of projected surtitles and incorporating the orchestra into the skēnē, using a ramp covered in sand and flooded to symbolise the sea and Medea's situation of being "between places".
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In his final editorial for Opera, Milnes wrote: :: "Thank you to all of those who have written in outrage cancelling their subscriptions, and then not done so. Thank you to all readers for being so patient with my bêtes noires. I know I’m wrong about surtitles (like hell I am) and they’re here to stay. So are sponsors and their lordly, impertinent ways. Call me old-fashioned, but I don’t really feel that a century that starts with Lilian Baylis and ends with Chris Smith is one that has seen a lot in the way of progress".
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334 Sir Charles Mackerras (pictured in 2005) became musical director in 1986. Armstrong stepped down in 1986 after thirteen years as musical director; he was succeeded by Mackerras, whose association with the company dated back more than thirty years. Among the features of his six-year tenure was an increasing use of surtitles for performances not given in English. In the company's early days, all operas had been sung in English, but as more international stars began to appear as guest principals the language policy had to be reconsidered: few of the leading names in world opera were interested in relearning their roles in English.
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The introduction, at the end of the 1900s, of Web 2.0 and of the new mobile device technologies caused deep changes also in this field. In Europe, in 2011, a significant innovation was provided by the Maggio Musicale Fiorentino Theatre in Florence, which started the testing of a new multilingual transmission system for mobile consumer devices,OperaVoice devised the software. that can be integrated to monolingual surtitles. In the same year, another multilingual software for mobile consumer devices was developed, as an alternative to the use of subtitles in cinemas and, the following year (2012), a new head-mounted display system (multimedia glasses) was introduced, serving the same function.
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Volpe conceived and developed "Met Titles", which were introduced during the 1995–96 season opening night performance of Otello. This system provides individual screens for surtitles screens on the backs of the seats for those members of the audience who wish to utilize them, but with little distraction for those who do not. In 1998, Volpe initiated the development of a new management software program, called Tessitura. Tessitura uses a single database of information to record, track and manage all contacts with the Met's constituents, conduct targeted marketing and fund raising appeals, handle all ticketing and membership transactions, and provide detailed and flexible performance reports.
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A critically acclaimed adaptation of the play, as translated into Polish with English language surtitles, was performed at the 2008 Edinburgh International Festival by the Polish theatre company TR Warszawa. The production starred Polish film actress Magdalena Cielecka and featured a number of other performers from TR Warszawa in supporting roles. This was a revival of TR Warszawa's earlier production of the play, as performed in Warsaw.The Scotsman , 16 August 2008 In 2003, there was a successful staging in Brazil, which played to a full house for six consecutive months in São Paulo, and also gained media attention for its defying gender aspect, as the role was performed by male actor Luiz Päetow.
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Hitomi Manaka as Lavinia in Yukio Ninagawa's 2006 production (Taitasu Andoronikasu) at the Royal Shakespeare Theatre; note the use of red ribbons as a stylised substitute for blood The second 2006 production opened at the Royal Shakespeare Theatre on 9 June as part of the Complete Works Festival, under the title Taitasu Andoronikasu. Directed by Yukio Ninagawa, it starred Kotaro Yoshida as Titus, Rei Asami as Tamora, Shun Oguri as Aaron and Hitomi Manaka as Lavinia. Performed in Japanese, the original English text was projected as surtitles onto the back of the stage. In stark contrast to Bailey's production, theatricality was emphasised; the play begins with the company still rehearsing and getting into costume and the stage hands still putting the sets together.
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Other significant productions followed, but, in summing up Strasfogel's success, author Mary Jane Phillips-Matz concludes that "his main achievement, though, was his artistic oversight, for by the mid-1970s critics were regularly covering the Opera Society's extraordinary programming and grants were coming in from important foundations." During this period of the 1970s another person was to enter the scene, stage director Frank Rizzo. There followed a stunning Madama Butterfly and other important productions and his association with the company continued into the 1980s with his introduction in 1984 of the Canadian Opera Company's surtitles system, whereby an English translation appeared above the proscenium arch. Also while under Strasfogel's tenure, the Opera Society made its move into the newly opened Kennedy Center for the Performing Arts in 1972.
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The opera utilizes a wide variety of theatrical techniques and approaches including tragedy, black comedy, satire, sections which can be played as dream sequences, agit-prop, expressionism, and parallel scenes. Dramatic and metaphorical themes include revenge, terrorism (and its definitions), blindness, redemption through love, pacifism and imperialism. At the time of the Edinburgh production, director David Wybrow described Manifest Destiny as "opera-noir: a new melodramatic theatre that reaches for the emotional intensity of opera in order to take on the profoundly disorientating anxieties of the twenty-first century." The staging for the production has generally been minimalist (the 2005 Edinburgh Festival Fringe production used three black boxes and assorted props) and involved multimedia (projections, animations and subtitles/surtitles – some key information in the opera has been conveyed via these methods in the manner of a film or television piece).
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