Download Title (e - Action On Hearing Loss

Access to the theatre for people with hearing loss
Policy statement
People with hearing loss continue to have limited access to the theatre due to a lack of
communication support and poor staff awareness. Theatres should install loop and
infrared systems, ensure their staff are deaf aware, and increase the number of
performances that are captioned and sign-interpreted.
Introduction
This policy statement outlines the main issues for people with hearing loss when going
to the theatre. It also includes our stand on the issues and suggests what actions need
to be taken to improve access.1
We use the term 'people with hearing loss' to refer to people who are deaf, deafened
and hard of hearing throughout.
Background
There are over 10 million people with hearing loss in the UK. In order to enjoy the
theatre, many of them require the aid of loop or infrared systems, captions or sign
interpretation.
Legal background
Under the Equality Act 2010 (and previously under the Disability Discrimination Act
1995), theatres are required to make reasonable adjustments so that their services are
accessible to people with disabilities. Reasonable adjustments for people with hearing
loss could include a loop or infrared system, and captioned and sign-interpreted
performances.
Loop and infrared systems
An induction loop or infrared system is essential in all theatres to help people with
hearing aids or loop listeners hear more clearly. They should be in all public areas where
hearing is important, such as the ticket office and refreshment counter, as well as in the
theatre. It is essential that staff are trained to operate the loop and infrared systems; that
the systems are maintained and regularly tested; and that they are clearly advertised. All
frontline staff should also receive general deaf awareness training.
The infrared signal is output from the cinema’s sound system, as with a loop system,
and is transmitted as an infrared signal. It provides better coverage than a loop system.
As with the loop system, when you receive the signal all background noise is cut out.
However, the infrared signal cannot be picked up directly by hearing aids; instead,
customers need either a neckloop or a stetoclip.
1
Please note that, like many policy documents, this statement reflects the issues relevant at the time of writing. Over time
this may be subject to change, such as new legislation, and we may review and amend the document. We recommend
that you consult the policy lead as well this statement.
October 2011
1. Infrared neckloop
Hearing aid users are provided with a special neckloop designed to pick up the infrared
signal, having set their hearing aid to the T position. We recommend that all infrared
systems have neckloops available so that hearing aid wearers do not have to take their
hearing aid out to enjoy a film, as they do with a stetoclip.
2. Stetoclip
Theatres can also offer stetoclips. These are similar to headphones and they pick up the
infrared signal without the need for hearing aids. They have a volume control and should
be kept on charge by the cinema. The advantage of this method is that anyone with
hearing loss can use the system, not just people with hearing aids.
Captioning
Captioning is similar to television subtitles: it converts speech into visible text, with sound
effects and offstage noises often included. A captioned performance is delivered live, by
a trained captioner.
Opera and plays performed in a foreign language often have basic captions that
translate the performance into English. However, they do not necessarily identify
offstage noises, sound effects or which character is speaking.
Some theatres, such as the Royal Shakespeare Company, have their own equipment to
deliver captioned performances in-house. There are also organisations which offer a
captioning service to theatres, such as the charity STAGETEXT.
There are two types of captioning: open and closed. Open captioning can be seen by the
whole audience, while closed captioning can only be seen by people with the
appropriate equipment. All captioning in UK theatres is open captioning. The text is
displayed on a screen on, above, below or beside the stage. Some viewers feel that
open subtitles disturb their viewing enjoyment, so captioned shows have very limited
availability. This means that people with hearing loss who find captioning useful have an
extremely restricted choice of performances.
Reading captions at the same time as following the action on stage can be tiring. We
suggest that a different colour font is used for each person speaking, to make
identification of the speaker easier.
There is also closed captioning technology, either through a hand-held device or seatback screens. However, it has many limitations: people may have to sit in a particular
area of the theatre to access the equipment; installing screens for every seat is
expensive; and viewers must constantly adjust the focus of the eye from the screen to
the stage. Despite these issues, we support the development of closed captioning.
Technology developments will play an important role in making UK theatre accessible to
people with hearing loss. For example, a company has developed a new device for use
in theatres known as AirScript. The device receives subtitles over WiFi. A manual
operator ensures that each lines hits the handheld screens at the same time as it is
delivered on stage. The advantage of this device is that is can also be used to translate
other languages. However, it is difficult and tiring to hold; the screen can be affected by
glare; and it can be difficult to get the right angle for reading.
Sign language interpretation
Sign language interpretation enables people whose first language is British Sign
Language (BSL) to enjoy live performances in the language most appropriate to them.
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An interpreter stands to the side of the stage and translates the speech into BSL. The
organisation Signed Performances in Theatre (SPIT) promotes and facilitates sign
language interpreted performances, and provides a list of interpreters available for work
in theatres. However, as with captioning, the number of signed performances is very
restricted, so people who use BSL do not have equal access to the theatre.
SPIT have developed a logo to indicate sign interpreted shows,
and Action on Hearing Loss support the use of this logo by
theatres.
Awareness
Increasing numbers of theatre companies are providing signed or captioned
performances. SPIT and STAGETEXT have listings of signed and captioned
performances around the UK, and the Society of London Theatre produces a listing of
accessible shows in London. However, public awareness about these performances
remains relatively limited. All those involved in the theatre industry should be responsible
for increasing public awareness about captioned and signed performances. For
example, theatre posters should say if captioned or signed showings are available and
any television advertisements should be subtitled. Theatres should provide easily
accessible information about subtitled screenings on their websites and in their printed
material about current and future productions.
Cost
Some theatre performances are extremely expensive. We urge all theatres to offer
concessionary tickets to people with hearing loss in the same way as to people with
other disabilities. People using loop systems, captioning or sign interpretation may need
to sit in specific seats in a theatre. These are often the most expensive seats, so we
recommend that these seats are offered at a discounted price to people with hearing
loss.
Evidence
In our 2005 annual survey we asked questions about theatre attendance. Eighteen
percent of all respondents had been to the theatre to see a play, musical or opera in the
last few weeks.
Almost half - 44% - of respondents stated that they do not go to the theatre as often as
they would like. Deafened people, BSL and Sign-Supported English (SSE) users and
people with cochlear implants were more likely to say this: 61% of deafened people and
57% of BSL users go to the theatre less than they would like, compared to 45% of hard
of hearing respondents.
The main reasons people gave for not going to the theatre were not being able to hear
the performance well enough (61%) and lack of captioned performances (24%). This
demonstrates the need to improve access to theatre for all people with hearing loss.
Main issues
We believe that the theatre should be accessible to all. We want to see the removal of
barriers currently faced by people with hearing loss when going to the theatre.
We advocate the following actions to achieve greater equality:
 Loop or infrared systems throughout the building, including the foyer, theatre and
refreshment areas.
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All loop and infrared systems clearly advertised, maintained and regularly tested,
and all staff trained in their operation.
A significant increase in the number of captioned shows.
An increase in the number of signed shows.
Deaf awareness training for all frontline theatre staff.
Discounted seats for people with hearing loss who need to sit in specific seats to
access communication support.
Responsibility by all those involved in the theatre industry to increase public
awareness about captioned and signed performances.
Further development of technology for closed captioning and signing.
Theatre companies and associated organisations promoting greater involvement
of viewers and groups of people with hearing loss in the planning, reviewing and
development of captioned and signed performances.
References
Our annual survey (2005)
www.actiononhearingloss.org.uk/membersurvey
Signed Performances in Theatre (SPIT)
www.spit.org.uk
STAGETEXT
www.stagetext.org
Society of London Theatre – Access
www.officiallondontheatre.co.uk/access
The Media Access Report (#17 Summer 2010) Media Access Australia
October 2011