![]() The article will first present the many challenges that exist in a live production where synchronous accessibility should be provided. Intelligent mobile phones and the widespread availability of applications may be the way to solve access to live performances, and this is the subject of this paper. Yet many barriers still make accessibility an almost utopian ideal. ![]() Surtitles, subtitles, audio description, audio subtitling and some other accessible services are being increasingly required by European Directives relating to media content. In some cases, both practices coexist to show in written form what is being spoken or sung, translated into the vernacular, and audio described to provide a user-friendly representation. In some theatre houses, accessibility to the audio (subtitles) and visual elements of the performances (audio description) has been arranged through the installation of screens on the back of seats, or through the projection of surtitles on a large screen usually located above the stage. These days, theatre or opera may be staged anywhere from the traditional seating arrangement to a popular open air representation where actors and audience move in a dynamic open mise en scène. Stage performances are usually live performances. The findings of the main experiment, analysed using statistics, and the children's feedback, obtained orally at the end of the main activity and presented in a narrative form, are discussed as a contribution towards future research. Case studies are used in the piloting leading to the main experiment, which consists of exploring techniques to enhance word recognition and content comprehension. Hands-on research is conducted with a group of deaf children recruited from a mainstream school. The ultimate aim of the project is to contribute to the subtitling practice of deaf children by conducting empirical analysis. Education for the deaf is also tackled, encompassing the history, philosophies and current trends. ![]() Deaf children are placed in their social context and the different types of hearing loss, prelingual and postlingual deafness, and cochlear implantation are discussed. In doing so, contributions from both Deaf Studies and Audiovisual Translation are considered. In an attempt to gain an understanding on how deaf children read subtitles, the linguistic difficulties encountered in the acquisition of a spoken language as well as their reading characteristics are examined. A descriptive and comprehensive study on how children’s programmes broadcast in British television are subtitled for deaf children constitutes the starting point of the project. It starts by offering an overview of relevant research on Subtitling for the Deaf and the Hard of Hearing (SDH), conducted both in the UK and abroad. This thesis is a contribution towards the subtitling practice of audiovisual programmes for deaf children. The dissertation attempts to explore the process of SDH, identify its role in Greece and suggest ways in which it could further develop in the future. The information presented is the outcome of research, discussions and exchange of data with national organisations and people involved in the production of SDH in Europe. The process followed for the production of SDH will be based on official guidelines, while the strengths and weaknesses of the guidelines will be discussed on the grounds of viewers’ needs. A further aim is to highlight the importance of specific kinds of information that need to be illustrated for the Deaf and Hard of Hearing (D/HOH) and possible ways in which this could be processed both theoretically and practically. ![]() Considering the ‘infancy’ of SDH in Greece, a brief theoretical background including discussions on the current role of SDH in Greek television, as well as a detailed commentary on the choices made regarding the linguistic and technical dimension involved in the production of SDH in the examples of chapter 1 were considered crucial and were, thus, included in the second and third chapter. Those examples and the process followed are presented in the first chapter. The purpose of this dissertation is to approach the practice through examples of audiovisual material that could possibly be of interest to television viewers. Surprisingly enough, Greece belongs to the second category, although only since 2006, through a single source (ERTdigital) and with the need of special equipment, which is also why little, if any, material can be found on the process, the distribution and the aims and prospects of SDH in Greece. ![]() From a technological and a social point of view, SDH could be characterised as ‘mature’, ‘advancing’ or ‘totally absent’ in different countries. Subtitling for the Deaf and Hard of Hearing (SDH) is a relatively new branch in the field of audiovisual translation. ![]()
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