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"The American Council of the Blind, through its Audio Description Project, believes it is
critical for knowledgeable users of description to establish these guidelines best
practices for audio description as it occurs in a broad range of formats!
televisionfilmD"Dsdownloads, performing arts, visual art and other areas# $nl% in this
wa% can we be certain of receiving a consistent, high&'ualit% product, developed in a
professional environment#(
Kim Charlson, Vice-President, American Council of the Blind
Chair, Audio Description Project Committee
August 200
The difference between the almost right word & the right word is really a large
matter--it's the difference between the lightning bug and the lightning.
- Letter !" #ar$ %&ain to 'eorge Bainton, (cto!er )*, )+++
)
AMER!A" !#$"!% #& T'E (%")*+
A$)# )E+!R,T#" ,R#-E!T
AUDIO DESCRIPTION GUIDELINES
and BEST PRACTICES
September 2010 A Wor In Pro!re""
#er"$on %&1 'oe( Sn)der* Ed$tor
AMER!A" !#$"!% #& T'E (%")*+
A$)# )E+!R,T#" ,R#-E!T
AUDIO DESCRIPTION GUIDELINES
and BEST PRACTICES
September 2010 A Wor In Pro!re""
#er"$on %&1 'oe( Sn)der* Ed$tor
TA(%E #& !#"TE"T+
,reface ..........................
)efinitions .................. .......
!ore +/ills ..........................
,erforming Arts ........................
Theater .................
)ance .................
#0era .................
Media..............................................
1isual Art 2 E3hibitions .................
2
A00endi3 A 4 Storm Read$n! A) scri0t e3cer0t 2 web lin/ ......
A00endi3 ( 4 %MA locomoting 5ocabulary ...........
A00endi3 ! 4 D+"t A) scri0t e3cer0t 2 web lin/ .........
A00endi3 ) 4 Co(or o, Parad$"e A) scri0t e3cer0t 2 web lin/ ....
Appendi, - . )'uipment providers *+live( description, ///////
")E6...........................
0
,RE&A!E
%hese 'uidelines1Best Practices ha2e !een gathered 1 de2eloped and are an ongoing
&or$-in-progress !" the ACB3s Audio Description Project chaired !"
ACB3s Vice President Kim Charlson4 %he &ord 5gathered6 is used since
the &or$ here is not, !" and large, ne&7 it is a 5re2ie& of the literature,6 a
culling of material that e,ists in documents that are &idel" a2aila!le4
'enerall", those documents are not the result of scientific research4 But
the" reflect and in turn these 'uidelines1Best Practices are !ased on
man" "ears of e,perience &ith audio description in a &ide range of
conte,ts4
%he 'uidelines1Best Practices are intended to !e o2erarching in nature, i4e4, the" are
&ritten to appl" to audio description generall" no matter the su!ject !eing
descri!ed or the particular format or genre in &hich description is used4
%here are, of course, significant differences in descri!ing media as
opposed to de2eloping a tour for a museum e,hi!ition4 Conse8uentl",
&e ha2e de2eloped su!-sets of these 'uidelines1Best Practices that
focus on Performing Arts, #edia, and Visual Art4
An initial draft of this document &as re2ie&ed !" the pu!lic on a &i$idot4org &e! page
throughout 9une 200 and &as discussed in depth at the Audio
Description Project Conference in (rlando, :lorida, 9ul" ;-+, 2004 %his
2ersion of these 'uidelines1Best Practices &as re2ie&ed !" a 'uidelines
<
Committee including Kim Charlson, ACB3s Vice-President and =ead
Li!rarian, the Per$ins >chool for the Blind? :red Brac$, &e!master,
&&&4ac!4org1adp?%hom Lohman formerl" of the Descri!ed and
Captioned #edia Program? @ic$ Boggs of Ae >ee %V? Br"an 'ould of
A'B=? Lisa =elen =offman, Audio-Description Consultant, %rainer and
Patron of Audio-Description >er2ices of L== Consulting? De!orah Le&is,
C-(, Arts Access Bo&, founding mem!er, Audio Description Coalition?
Bina Le2ent, Art -ducation for the Blind, #etropolitan #useum of Art?
Christopher 'ra", immediate past president of the American Council of
the Blind? and 9oel >n"der, Director, Audio Description ProjectC and &ill
no& !e posted on the &e! for further input from an"one interested 2ia a
&i$idot4org page4 %he committee &ill monitor and re2ie& all contri!utions
and our goal is to ha2e a final 2ersion made pu!lic !" mid-20)04
:inall", &e &ant to credit &ith a large measure of appreciation the original source
material on &hich this document is !ased4 %he material includes7
- Art -ducation for the Blind3s 5#a$ing Visual Art Accessi!le to People Aho Are Blind
and Visuall" Dmpaired6
- Audio Description Coalition >tandards and Code of Conduct Ethe ADC Code of
Conduct is reprinted, &ith permission, at the end of this document
*
- 5Audio Description %echni8ues6 !" 9oe Clar$ ECanadaC
- 5Audio Description7 %he Visual #ade Ver!al6 !" 9oel >n"der from %he Didactics of
Audio Visual %ranslation, edited !" 9orge DiaF Cintas, 9ohn Benjamins
Pu!lishing, London, -ngland and on-line course for :ractured
Gni2ersit"
- Descri!ed and Captioned #edia Program 5Description Ke"6 Ede2eloped !" DC#P and
the American :oundation of the BlindC
- D%C EDndependent %ele2ision CommissionC 'uidance on Audio Description EG4K4C
- Bational Captioning Dnstitute Descri!ed #edia 5>t"le 'uide6
;
)E&"T#"+
Audio Description EADC
Audio Description EADC is a tool for people &ho are !lind or ha2e lo& 2ision that
pro2ides access to the 2isual aspects of theater, media, and 2isual artH
and an" acti2it" &here images are a critical element4 Gsing &ords that
are succinct, 2i2id, and imaginati2e, descri!ers con2e" 2isual information
that is either inaccessi!le or onl" partiall" accessi!le to a segment of the
population4 Dn addition, description ma" also !enefit people &ho prefer to
ac8uire information primaril" !" auditor" means and those &ho are
limitedH!" pro,imit" or technolog", for instanceHto accessing audio of
an e2ent or production4
%he Audio Description Gser 1 Patron
%he principal patrons of audio description are people &ho happen to !e !lind or ha2e
lo& 2ision4 Aho are 5the !lind6I %he" are not Jthe !lind4J %he" are indi2iduals --
house&i2es, scientists, artists, !usiness people 444 or, of course, an" of us &ho happen
to de2elop 2ision loss4
People &ho listen to audio description are uni8ue indi2iduals li2ing &ith some degree of
2ision loss as the result of a &ide range of causes4 #ost at one point
had all or some of their sight and no& the" ma" ha2e onl" peripheral
2ision, the" ma" see onl" shapes, light and dar$, colors, mo2ement,
K
shado&s, !lurs, or 5!lo!s6 -- or ha2e Jtunnel 2ision4J #ost users of
description are not totall" !lind? indeed, onl" )-2L of the legall" !lind are
congenitall" !lind E!lind from !irthC? others are ad2entitiousl" !lind or
de2eloped total !lindness later in life4 (nl" )0L $no& Braille4
%he American :oundation for the Blind reports that 2*42 million Americans ha2e 2ision
loss Ei4e4, ha2e trou!le seeing e2en &ith correction or are !lindC4 Ahile
description &as de2eloped for people &ho are !lind or 2isuall" impaired,
man" others ma" also !enefit from description3s concise, o!jecti2e
5translation6 of the $e" 2isual components of 2arious art genres and
social settings4 Audio Description is an 5Assisti2e %echnolog"6? it is
meant to enhance, not replace the user3s o&n po&ers of o!ser2ation4
Audio Descri!erEsC 1 Descri!er EsC
%he person responsi!le for de2eloping the description to !e 2oiced4 As Canadian &riter
9oe Clar$ ma$es clear, descri!ers and 2oicers ser2e the audience and
the production, not themsel2es4 =e e,plains7 5Mou3re not pro2iding
descriptions to sho& off "our 2oca!ular" or to highlight "our !eautiful
2oice4 Mou &or$ for the production and the audience4 A certain self-
effacement is re8uired46 Bac$ground in the medium or genre !eing
descri!ed can also !e helpful4
Voicer Eor Voice %alentC
+
%he person &ho 2oices the description Ein some cases, often in the performing arts, the
descri!er also is the 2oicerC4
%he Consultant EsC
%he Consultant is a person &ho is !lind or 2isuall" impaired, an indi2idual &ho has
e,perience in the use of audio description, and &ho has the a!ilit" to
anal"Fe the descriptions4 %he Consultant3s role is to as$ 8uestions and
assist in the creation of descriptions so that a sufficient amount of
information a!out the 2isual details is included in concise and accurate
descriptions4 %he Consultant offers &ritten suggestions for description
deli2er" so that the" flo& and do2etail &ith an" e,isting spo$en portion of
the su!ject !eing descri!ed4

!#RE +7%%+
%his section is intended as an o2er-arching set of guidelines, applica!le to audio
description in &hate2er setting, genre or format it occurs4 Later sections
pro2ide more specific techni8ues for the follo&ing areas7
- Performing Arts E%heater, Dance, (peraC
- #edia
- Visual Art 1 -,hi!itions
%=- BA>DC>
%he audio descri!er is part journalist, faithfull" rela"ing the facts7
A=(
Aho is in the imageI Ahat do the" loo$ li$eI
- Age
(ne doesn3t see someone3s age unless the indi2idual !eing descri!ed is
&earing a !utton that proclaims, 5D3m ;0N6 Ahat does he1she loo$ li$eI
%hose are the characteristics to cite, the things "ou see that prompt "ou
to thin$ that the indi2idual is a certain age4 Dn some description formats,
of course, time is of the essence, and short-cuts include7 Dn her late
forties? in his si,ties? pre-teen? teenage4
- =air1Build1Clothing
Cropped !ro&n hair? long !lond hair? red-headed &oman? slim? tall?
)0
stoc$"? dressed in a &hite pantsuit? &earing a !lue floral dress? in a
!right red s&eater? the tu,edoed 5Bond46
- @elationship
#other, father, son, !rother-in-la&, etc4H!ut ta$e care to onl" specif" if it is $no&n4
- Characters 1 People
Descri!e indi2iduals !" using the most significant ph"sical characteristics4
Ddentif" ethnicit"1race as it is $no&n and 2ital to the comprehension of content4 Df it is,
then all main characters3 s$in colors must !e descri!edHlight-s$inned,
dar$-s$inned, oli2e-s$inned4 ECiting the race onl" of non-&hite
indi2iduals esta!lishes 5&hite6 as a default and is unaccepta!le4C
A=A%
%o a certain e,tent the descri!er3s choices of &hat to descri!e are !ased on an
understanding of !lindness and lo& 2ision7
- 'o from the general to the specificHstart generall", creating a conte,t, then mo2e to
details to enhance understanding and appreciation4 Pro2ide 2isual
perspecti2e as appropriate and as time allo&s4 %he initial information
presented a!out a scene &ill create a foundation in the minds of the
audience mem!ers?
))
- Gse of colorHthe D%C >tandards e,plain7 5#ost 2isuall" impaired people ha2e at
some time seen colours and either retained the 2isual memor" of colour
or can remem!er the significance and impact of a particular colour4 /
People &ho are !lind from !irth or from an earl" age cannot Osee3 colours
!ut the" do understand the significance of a particular colour !" its
association4 %he" ma" not Osee3 green, !ut the colour of flo&er stal$s,
lea2es and grass, &hich people can touch and smell does mean
something46 Ahen as$ed a!out the perception of color, a congenitall"
!lind audio description user in (regon recommended reading #ar"
(3Beill3s 5=ailstones and =ali!ut Bones,6 a children3s classic of poetr"
and color4
- Dnclusion of directional informationH&hether on a screen, a stage, or in front of an
e,hi!ition, some AD users &ill 5see6 if "ou tell them where to loo$4 Dn
addition, directional 5pointers6 can help AD users organiFe the
information the" hear, i4e4, going from top to !ottom, right to left,
cloc$&ise, etc4
- Descri!e &hat is most essential for the 2ie&er to $no& in order to understand and
appreciate the image !eing descri!ed4
P Ahat3s happeningI Ahat actions are most important for a clear understanding and
appreciation of the imageEsCI
P Descri!e e,pressi2e gestures and mo2ement Eresist an" temptation to con2e" &hat
"ou ma" feel is inferred !" them, such as an emotional stateC4
)2
P%he oft-referenced 5first rule of description6 is to 5Descri!e &hat "ou see6 or
A4M4>4D4A4M4>4 . 5A=A% M(G >-- D> A=A% M(G >AM6
Ahat is the critical 2isual information that is inaccessi!le to people &ho are !lind or
ha2e lo& 2isionI >ome ha2e alread" !een noted7 $e" plot elements,
people, places, actions, o!jects, un$no&n sound sources not mentioned
in the dialogue or made o!2ious !" &hat one hears4
-,ample7 #ention &ho ans&ers the phoneHnot that the phone is ringing4 Dt3s not
necessar" to descri!e o!2ious sound cues4 At times, the source of a
sound ma" not !e clearHa description ma" !e appropriate4 Dndeed, let
conte,t !e one of the deciding factors in &hether to descri!e sounds4
:or instance, if the scene is set in an underground ca2e and a telephone
rings, it &ould li$el" !e important to include 5a telephone rings6 in the
description, as the mere fact that the phone is ringing in such a
seemingl" odd locale &ould not t"picall" !e conte,tuall" rele2ant, and
ma" !e jarring or confusing to the 2ie&er if left undescri!ed4
- >pecificit" creates images in the minds3 e"e to a far greater degree than a general
reference4 Dt is more interesting to hear of the items in a mound of clutter
if time permits than to sa", 5%he attic is cluttered46 Dn other &ords, !e
specific &hen time allo&s4 Df at all possi!le, don3t crunch separate
e2ents1images into a single item and pro2ide detail &hen descri!ing
media li$e a photograph4 :or e,ample7 A series of images7 a tidal
&a2e seen from a!o2e and !elo& sea le2el? a shar$, its teeth !ared,
)0
2eers in a s&ift )+0o to the right? an octopus shoots a dar$ mist at a
predator !efore !eing snatched a&a"4 Df an image is a photographHis
it color or !lac$-and-&hiteIH&hat siFeI Ds the &oman in the photo
simpl" smiling or is she &earing a !road grinI ho& man"I E* men, ;
airplanesC positionI E=e comes up !ehind her4 A car turns left4C
- Less Ds #ore4 Description cannot and need not con2e" e2er" 2isual image on displa"4
Qualit" audio description is not a running commentar"4 Listeners should
!e allo&ed to hear actors3 2oices, sound effects, music, am!iance in a
museumHor e,perience silence throughout the description4 Descri!ers
need to differentiate !et&een imager" that has a purel" decorati2e
purpose, and that &hich is rele2ant to the unfolding action or greater
conte,t of the production4 At the same time, the descri!er3s judgment is
critical7 description should facilitate understanding as &ell as con2e" an
appreciation of the image4
%he D%C >tandards cautions that 5=o&e2er tempting it is to use colourful imager" and
elegant turns of phrase, clarit" is the main aim of audio description4 As a
rule, too much description can !e e,hausting or e2en irritating4 %he
Rimage !eing descri!edS should !e allo&ed to !reathe from time to time,
allo&ing Rit and itsS atmosphere to come through %he descri!er must learn
to &eed out &hat is not essential46
)<
And 9oe Clar$ adds Ein spea$ing of description for mediaC, 5Descri!e &hen necessar",
!ut do not necessaril" descri!e46
As$ "ourself7 5Ahat is most critical to an understanding *he points to his head, and
appreciation *his hand is on his heart, of that 2isual imageI6
%hin$7 Can D 2isualiFe &hat3s happening &ithout !ecoming confusedI
:eel7 Did D correctl" con2e" the emotion of the sceneI
A=-B1A=-@-
- %ime of da" Eis it light or dar$I Cloud" or sunn"IC and location4
:or e,ample7 %he sun sits lo& o2er the horiFon4 EDs it a sunset or is the sun risingI
(ften &e donTt $no& if itTs a sunset or sunrise . for e,ample in a nature
program &here + seconds of !urning red s$" is used as !-roll4 Dn this
e,ample, the image needs to !e descri!ed E!riefl"C &ithout
characteriFing it further4 A full moon4 A cloc$7 K700 a4m4 A cit" par$4 A
2-stor" !ric$ to&nhouse4 Gnder a &ide portico4 (n a raised platform
near a gaFe!o4
=(A
- Be clear, concise, con2ersational7 Gse 5e2er"da"6 terms4 Descri!e a technical term,
then name it, e4g4, 5she !ends at the $nees, a pliU6? limit the use of slang
or jargon unless appropriate to the content1image !eing descri!ed4
Descri!ers are &riting for a !road audience4 DtTs ad2isa!le to use the
)*
language in the program as "our guide to 2oca!ular", sentence structure
and pacing4 Consider the materialHand use language that is consistent
&ith its content, $eeping in mind that correct language structure and
s"nta,Ha sort of 5spo$en grammar6Hare important elements of an"
description4
- Point of Vie& and Barrati2e %ense Deli2er description in present tense, in acti2e 2oice
Ee4g4, 5%ed !rea$s the &indo&,6 is prefera!le to, 5%he &indo& &as !ro$en
!" %ed46C Gse third-person narrati2e st"le to sho& neutralit" and
noninterference4
- Consider "our audience4
Df "ou $no& that "our audience is primaril" "oung people, use simple language structure
in "our descriptions4 >imilarl", match 2oca!ular" to the material !eing
descri!ed4
- 5Ae >ee6
A2oid telling "our guests that 5&e see6 or notice or 2ie&Hit3s a gi2en4 Dn general, the
use of terms li$e 5a 2ie& of6 or 5comes into 2ie&6 should !e a2oided4
%hese are understoodHit is a gi2en that &hat is !eing descri!ed is &ithin
the 2ie& of the audience, and using such terms ro!s precious seconds
from the a2aila!le 58uiet parts6 during &hich description can !e inserted4
);
- Var" Ver! Choices
=o& man" different &ords can "ou use to descri!e someone mo2ing
along a side&al$I Ah" sa" J&al$J &hen "ou can more 2i2idl" descri!e
the action, as appropriate, &ith Jsasha",J Jstroll,J Js$ip,J Jstum!le,J or
JsaunterJI
- Definite1Dndefinite Articles
Gse 5a6 instead of 5the6Ha s&ord, instead of the s&ord, unless there3s onl" one s&ord4
Df the s&ord has alread" !een introduced, it !ecomes 5the6 s&ord4
- Pronouns
Gse pronouns onl" &hen it is clear to &hom or &hat the pronoun refers4
- #ultiple #eanings
Ddentif" &ords that ha2e multiple meanings? !e sure that the intended meaning is
con2e"ed4
- Dnterpreti2e R%LS Ad2er!s1'erunds7 -l" &ords and -ing &ords7 >uspiciousl", furiousl",
ner2ousl"4 As$ "ourself7 5Ahat is it that "ou see that prompts "ou to
thin$ that he1she loo$s suspicious, furious, or ner2ousI Dnstead7 5raises
her e"e!ro&s6, 5clenches her fists6, 5t&ists a nap$in64 5-l"6 &ords should
!e used sparingl", onl" if timing lea2es no other option4 :or instance,
there are cases &ith 5hurriedl"6 or 58uic$l"6 might !e used appropriatel"
)K
in a descri!ed passage4 Gse 5-ing6 &ords in phrases, not as continuing
present tense, e4g4, 5>tomping up the stairs, he/6 instead of, 5=e is
stomping up the stairs46
- (!jecti2it"
%he !est audio descri!ers o!jecti2el" recount the 2isual aspects of an image4
-ubjective or 8ualitative judgments or comment get in the &a"Hthe"
constitute an interpretation on the part of the descri!er and are
unnecessar" and un&anted4
.et listeners conjure their own interpretations !ased on a commentar" that is as
o!jecti2e as possi!le4
>o &e do not sa" J=e is furiousJ or J>he is upset4 5 @ather, J=eTs clenching his fistJ
or J>he is cr"ing4 5 @ather than 5Dt3s a dream46 or 5>he dies46, the
o!jecti2e descri!er might sa"7 5%hrough a &hite mist, 9oan runs through
a field46 or, 5=is head lolls !ac$ and his e"es close46 Descri!ers must
differentiate !et&een emotion or reasoning E&hich re8uires an
interpretation on the part of the o!ser2erC and the ph%sical
characteristics of emotion or reasoning E&hich are more concrete and
allo& description users to conjure their o&n interpretationsC and prepare
their description &ith this important distinction in mind4 :or instance,
instead of 59ohan li$es the chocolate mil$,6 sa", 59ohan sips the
chocolate mil$, then lic$s his lips4
)+
- #etaphor1>imile
Descri!e shapes, siFes, and other essential attri!utes of images !" comparison to
o!jects or items1areas that are familiar to the intended audience4
:or e,ample, is the Aashington #onument *** feet tall or is it higher than fift"
elephants stac$ed one on top of the otherI (r almost as high as t&o
foot!all fields are long4 %hus, &e tr" to con2e" our descriptions &ith a
$ind of 5inner 2ision6 that results in a linguisticall" 2i2id e2ocation of the
image !eing descri!ed4 %here aren3t an" elephants or foot!all fields
thereH!ut "ou ma" e2o$e them in order to con2e" a particular image
Ethe height of the Aashington #onumentC4 Mes, a contradiction of the
descri!er3s 5first rule6H>a" (nl" Ahat >eeH!ut it &or$s in certain
instances !ecause it e2o$es the essense of &hat is !eing descri!ed4
Descripti2e metaphors and similes are !est &hen the" are immediatel"
relata!le to the 2ie&er Ee2er"da" o!jectsC and1or the image itself4
-,amples7 the small sna$e is as long and thic$ as a pencil Eor possi!l"
an earth&ormC, the machine is siFe of a refrigerator, the puma is the siFe
of a large dog4
- La!els
>ince the ultimate goal is an image created in the minds of our constituents, avoid
labeling &ith an interpretation that is ine2ita!l" uni8ue to "ou, the
descri!er4
)
Dndeed, 5la!eling6 . 5naming6 is not describing4 La!els lead us to pigeon-hole and &e
tend to then dismiss the thing &e see4 :or e,ample, a !allet dancer
doesn3t simpl" 5pliU6 Esee discussion of 59argon6 in the #edia sectionC4
=e or she !ends at the $nees4
- Censorship
Aithin the constructs of 8ualit" description, descri!ers must con2e" all of the 2isual
elements of the material !eing descri!ed4 Descri!ers must not censor
information for an" personal reason such as their o&n discomfort &ith
the material or a political !elief, i4e4, descri!ers must rela" o!jecti2el" the
2isual elements of nudit", se,ual acts, 2iolence, etc4 (ur constituents
ha2e the right to $no& the critical 2isual material that is e2ident to sighted
people and &e ha2e the o!ligation to con2e" that material4 Df a descri!er
feels that descri!ing particular material &ill ma$e him1her uncomforta!le,
s1he should not accept this assignment4
V(DCDB'
Ae ma$e meaning &ith our 2oices4
>ome studies suggest that &ithin face-to-face spo$en interpersonal con2ersation the
majorit" of content is communicated non-2er!all", either through gesture
and facial e,pression !ut also through a 2ariet" of speech and oral
interpretation fundamentals7
20
Pronunciation - -nunciation - Breath Control - Volume
Pause - Dnflection - Pace - %empo - Phrasing - %one
- Pronunciation
Prepare in ad2ance and1or use transliterations to indicate pronunciation4
Learn the proper pronunciation of foreign names and &ords used in a
production4 Barrators3 2oices must !e distinguisha!le from other 2oices
in a production, !ut the" must not !e unnecessaril" distracting, as &ith
recogniFa!le cele!rit" 2oices or inappropriate accents4
- -nunciation 1 Aord @ate
>pea$ clearl" and at a rate that can !e understood4
'enerall", a rate of );0 &pm E&ords per minuteC is an accepta!le pace4 %r" spea$ing
descriptions to "ourself to ma$e sure the" flo& casuall"4
- Consonance
Vocal deli2er" should !e consonant &ith the nature of the material !eing descri!ed4 %he
2oice should match the pace Eincluding &ord rate, noted a!o2eC, energ"
and 2olume of the material4 Allo& the performance to set the tone and
rh"thm of the description, remem!ering that the performance, not the
descri!er, should !e the focus4 9ust as the descri!er should not assume
a detached, lecturing or clinical tone, the descri!er should not attempt to
project him- or herself into the performance as another performer4
2)
-,ample7 %he language and deli2er" to descri!e a fight scene &ould differ from that
used to descri!e a lo2e scene4
22
A$)# )E+!R,T#" 8$)E%"E+2(E+T ,RA!T!E+
,ER&#RM"8 ART+
%=-A%-@
- >uspension of Dis!elief
Aith most performing arts, the descri!er should allo& listeners to participate in the
5&illing suspension of dis!elief6 !" descri!ing in terms of the stor" rather
than the theatrical e,perience4 A2oid stage directionsHstage right,
house right, and do&nstage4
- 9argon
A2oid theatrical references or jargon, especiall" names for technical e8uipment and
de2ices, &hich &ould dra& listeners3 attention a&a" from their
in2ol2ement in the stor" E5!rea$ the fourth &all6C and ma" introduce
confusing, un$no&n terms4
-,ample7 >a" 59ohn Rcharacter3s nameS is ; feet tall &ith curl" !lac$ hair /6 instead of
5the actor pla"ing 9ohn is ; feet tall /46 5>usan runs from the $itchen6
rather than 5>usan e,its the stage46 %he e,ception to the 5maintain the
illusion6 caution &ould !e &hen the st"le of the production is
presentational, calling attention to its theatricalit"4 Because the
production ma$es the audience a&are that it is 5&atching a pla",6 it3s
appropriate for the descri!er to do so as &ell4
20
- Bum!er of Descri!ers
>ome organiFations utiliFe a pair of descri!ers to co2er a performance4 :or instance,
the first descri!er descri!es the performance &hile the second descri!er
prepares, and sometime deli2ers, the pre-sho& notes Eand intermission
notes if applica!leC and ser2es as !ac$up descri!er4 A !ac$up descri!er
is prepared to descri!e the e2ent if the original descri!er is not a2aila!le
4
- -2aluation
'i2e listeners a means of pro2iding the management &ith feed!ac$ on the description
!" announcing the process at the end of the description and1or pro2iding
a Braille1large print handout &here reception e8uipment is distri!uted4
- -,temporaneous Description
Dn addition to performing arts e2ents, li2e description ma" !e pro2ided for li2e !roadcast
programs such as Presidential inaugurations, space launches, national
disaster ne&s co2erage, etc4 Aith no opportunit" for pre2ie&s or pre-
sho& notes to pro2ide !ac$ground information or preliminar" description
of certain general elements, consider using some silences to descri!e
the 5!ig picture6 rather than &hat is specificall" onscreen4 %hese
situations Eli2e description for a one-time e2ent or a li2e !roadcastsC
presents a uni8ue challenge since the descri!er often doesnTt $no& &hat
images &ill appear and cannot $no& &hen the pauses in dialogue &ill
happen or ho& long those pauses &ill !e4 %his t"pe of description is not
2<
for the faint-of-heart and can 2er" &ell ma$e the 2ie&ing e,perience
&orse !" tal$ing o2er important dialogue and1or offering incomplete or
a&$&ardl" &orded descriptions4 %hat said, &ith practice, an e,perienced
descri!er can ma$e a li2e, unscripted e2ent an accessi!le, seamless
2ie&ing e,perience for the description user4
- %o >cript or Bot %o >cript
>ome performing arts description producers &ill ha2e a descri!er pre2ie& a
performance Eas production schedules allo&C enough times to allo& for
the de2elopment of a description script4 (thers depend on one or t&o
pre2ie&s &here notes are made and the descri!er pro2ides description
in a more 5e,temporaneous6 manner4 Df time and schedules allo&, the
de2elopment of a script permits the careful consideration of the 2arious
fundamentals of description outlined earlier in this document4 %he
descri!er using a script does not, of course, read the script &ithout
loo$ing at the li2e performance? he1she must $no& the script &ell enough
to use the script as a prompt and !e free to descri!e e,temporaneousl"
&hen 5change happens46
- >cheduling of Description
%"picall", audio description is offered at one to three performances throughout the run of
an e,tended series of performances, often one e2ening performance and
one matinee4 %his, of course, limits the AD users in their fle,i!ilit" in
2*
scheduling attendance at performing arts e2ents4 >ome organiFations
as$ for ad2ance notice of t&o &ee$s or more in order to pro2ide AD as a
special re8uest4 Dn an effort to put the AD user on a par &ith an" other
performing arts patron, certain producers &ill 5cast6 a descri!er &ho can
attend selected rehearsals, de2elop an AD script and !e a2aila!le at
e2er" performance Esimilar to an understud"C4 Df no one desires the
ser2ice, the descri!er is free to go4
:or touring productions, e,periments ha2e !een made &ith scripts that ha2e !een
produced in one locale that can !e shared &ith descri!ers in another cit"4
Dncreasingl", certain long-running and1or touring productions ha2e
recorded description $e"ed to lighting cues and accessed 2ia PDAs
attached to seat!ac$s4 %he descriptions Eas &ell as captions and
simultaneous translationC are a2aila!le at an" performance4 Ddeall", a
descri!er monitors the use of these s"stems so that 2ariations from the
original descri!ed performance can !e incorporated at an" particular
performance4
- -8uipment
Aith the e,ception of recorded description noted earlier, audio description is deli2ered
&irelessl" 2ia microphones Eheadset or steno-mas$ st"leC, transmitters,
and recei2ers &ith earpieces used !" AD patrons4 'enerall", the
transmissions are accomplished 2ia infra-red Eline-of-sightC or :# radio
2;
s"stems4 :# s"stems can !e porta!le and are often shared !" multiple
theaters4 A full discussion of e8uipment at a 2enue is essential including7
location of recei2ers? a secure s"stem for distri!ution and return of
recei2ers Ee4g4, lea2ing an DD or notC? ho& to demonstrate the use of the
recei2er? &hat to do if there3s an e8uipment pro!lem, etc4C4 A list of
e8uipment pro2iders is included as an appendi, to this document4 R-KS
- 5>tepping (n Lines6
Descriptions are usuall" deli2ered during pauses !et&een lines of dialogue or 8uiet
moments, a2oiding other critical sound elements4 But since it is more
important to ma$e a production understanda!le than to preser2e e2er"
detail of the original soundtrac$, the descri!er &ill spea$ o2er dialogue
and other audio &hen necessar"4 Df a description continues o2er
dialogue, 8uic$l" finish the sentence4 Dn most instances, a descri!er ma"
tal$ o2er !ac$ground music or underscoring as &ell as the l"rics of a
repeated chorus of a song4
And, as noted earlier, it is appropriate to let pauses or 8uiet moments pass &ithout a
description4 Listeners &ant to hear the performance first and the
description second4 %he dialogue, the soundsHand e2en the silencesH
are telling the stor" and must !e e,perienced4
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Gse caution in tal$ing o2er a 5song pla"ed on the radio6 !ecause its recognition !" the
audience and1or the audience3s hearing its content ma" !e important to
setting a mood, recalling an era, ma$ing an emotional statement, etc4
-,ample7 -sther is tal$ing non-stop a!out ma$ing a pie, !ut she is 8uietl" ta$ing a gun
from a dra&er4 %he descri!er ma" need to spea$ o2er her dialogue
!ecause the audience &ill hear a gunshot !efore she stops tal$ing a!out
ma$ing the pie4
Ddentification
Ddentif" characters as the" ha2e !een identified in the production4 Dntroduce them !"
name onl" after the"32e !een introduced in the dialogue and consistentl"
identif" people1characters !" name4 Gse a character3s name onl" &hen
sighted audience mem!ers $no& the name4 Ahen an un$no&n
character appears, refer to the person !" a ph"sical characteristic used
in his1her initial description until his1her name is re2ealed4 (nce
e2er"one $no&s the character3s proper name, tie the name to the
ph"sical description at the first opportunit" E59ohn, the redheaded man6C
and after&ards use onl" the character3s name4 EA 5cast of characters6 list
ma" ha2e !een included in the program1pre-sho& notes? this information
&ill allo& listeners to !e on a par &ith sighted audience mem!ers4C
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Be certain to descri!e entrances and e,itsH&ho and &hereHespeciall" &hen there3s
nothing audi!le to indicate someone has joined or left the scene4
Bote7 Dt ma" !e helpful to create a list of the esta!lished names for each character for
reference during the description4 A list of commonl" paired couples ma"
also !e useful in pla"s &ith difficult character names4 >ome AD users
ha2e suggested that once the material has identified a character, the
descri!er could match the character3s name &ith the actor3s 2oice !"
mentioning the character3s name just !efore s1he spea$s4 Although the
descri!er usuall" doesn3t need to repeat the 2oice identification, this
might !e necessar" after a character has !een silent or a!sent for a long
time or if se2eral 2oices are similar and it3s important to $no& e,actl"
&ho is sa"ing &hat at a particular point4
%iming
%heatrical surprises should, ideall", come at the same time for all audience mem!ers4 Df
characters3 appearances or actions, hidden identities, costumes, sight
gags, sound effects, etc4 happen as a surprise to sighted audience
mem!ers, don3t spoil the surprise for listeners !" descri!ing Eand
re2ealingC them in ad2ance4
-,ample7 Df a character is in disguise, he !ecomes 5the man6 rather than 59ohn &ears a
disguise46 Gse a neutral term 5the figure in red6 &hen characters are
2
disguising their gender4 Df the action that accompanies a sound effect &ill
result in a reaction from the audience, treat this as if descri!ing a sight
gag4 %ime the description to allo& listeners to react at the same time as
sighted audience mem!ers4
-,ample7 Df the audience sees something happening that might 5&arn them6 of the
possi!ilit" of, sa", a loud noise, !e sure to descri!e that action4 :or
instance, 5Pat6 loads a rifle, so &e $no& that there3s a possi!ilit" s1he &ill
fire it4
Aith e,perience, descri!ers learn to gauge &hen laughter and applause ha2e pea$ed
and !egun to die do&n4 Df possi!le, hold description until the audience
!egins to 8uiet4 Df not, spea$ loudl" &hen descri!ing o2er loud laughter,
music or applause4
Ahen an effect &ill !e repeated, tr" to descri!e it the first time in a &a" that allo&s a
5shorthand6 reference later4
-,ample7 Dn a pla" &here characters 2igorousl" smo$e cigarettes to underscore their
tension, descri!e the first instance as, 5#ar" and 9ohn light cigarettes,
inhale and e,hale deepl"46 (n later occurrences, as listeners understand
the pattern of their !eha2ior, simpl" sa", 5>mo$ing again46
00
>ounds
Descri!e the source of sounds that ma" not !e immediatel" recogniFa!le &ithin the
program !ut are pertinent to understanding and appreciation of the
content4
Dnclude an" sound effects in the timing of descriptions, e4g4, he turns a&a" from her and
she pulls out a re2ol2er4 RBAB'S =e falls o2er a des$ RCLA%%-@S4
Gsuall" a sound effect, or the e2ent leading up to it, is descri!ed just !efore it happens7
5%he !urglar drops his sac$46 R%=GDS >ometimes it can !e e2en more effecti2e after the
action4 6Aa2ing their arms the" run to&ards the platform4446 RChuff chuff444
the sound of a train pulling a&a"S 5%he train is pulling out of the station46
- Pre->ho& and Dntermission Botes
PurposeH%he purpose of pre-sho& notes is to prepare the patron !" including
descriptions that the descri!er &ill not ha2e time to gi2e during the
performance4 Dn addition to the credits on the pla"!ill, the pre-sho& notes
co2er descriptions of the sets, &ith their entrances, e,its, le2els,
placement of furniture, etc4? the ph"sical characteristics of the characters,
the roles the" pla", their costumes, an" gestures or mannerisms the" use
repeatedl"? dance mo2ement? recurring staging techni8ues? and an"
props that are significant4 All of these descriptions should !e succinct,
tightl" organiFed and not e,ceed )0.)* minutes4 #ost descri!ers
0)
prepare scripted pre-sho& notes to !e sure that the"3re co2ering
e2er"thing in a coherent and timel" manner4 Productions &ith
intermissions pro2ide a second opportunit" to pro2ide additional
information4
Terminolog%H%he pre-sho& notes are also the place to define an" terminolog" that
might !e used in the performance4 Dn a period piece, terms of clothing or
architecture might !e e,plained4 Gnusual props can !e defined4 %he
remaining time !efore the curtain can !e filled &ith the director3s notes,
articles a!out the pla"&right, the actors3 !iographies, the appearance of
the audience, etc4
$rderHListeners are tr"ing to a!sor! and remem!er a great deal of 2er!al information4
Descri!e settings and costumes in the order the" appear4 As much as
possi!le, descri!e each setting in the same order Eleft to right and top to
!ottom, for e,ampleC4
Descri!e the set in an orderl" manner Ee4g4, left to rightC and limit description to the
most essential elements4 Descri!e fi,ed !ac$ground elements first, then add furniture
or large props4 Df the set is a!stract, the appropriate use of simile ma" help the listener
determine the shapes and dimensions of the elements &ithout confusing the
comparisons &ith the realit" on stage4
02
'enerall", note characters first, then the set Eit ma" !e unclear to reference the first
scene in 9oe3s li2ing room if 9oe has "et to !e introduced4 Be sure to include the
relationships !et&een the characters as appropriate4
CharacteristicsHDescri!e an" characteristic actions Ee4g4, 5!ites her nails,6 5ta$es
s&igs from a hip flas$ of &his$e"46C
-%nopsesH%here ma" !e a s"nopsis in the pla"!ill4 9ust as this information is helpful to
sighted audience mem!ers, sharing this information &ith listeners during
pre-sho& notes ma" aid their appreciation of the performance and the
description4 (ther information Edirector3s notes, !ac$ground information,
creditsC must !e prioritiFed for pre-sho& or intermission4 Dn the e2ent that
the a2aila!le time does not allo& for the reading of important material,
mention this so that the listener can read it or ha2e it read later4
The TheaterHDf there3s a dela" in the start of the performance or during a scene change
or an emergenc" in the audience, descri!e &hat the sighted audience
can seeHa large group has just arri2ed and is !eing seated, the curtain
is caught on a piece of scener", stagehands changing the set, etc4C4
Dn a li2e setting, to the e,tent that notices are displa"ed for the general pu!lic, it is
appropriate to alert AD users of upcoming sound effects as the" could
affect ser2ice animals accompan"ing a patron4
00
/ntermissionsHDn productions &ith intermissions and a great deal of information to
co2er in pre-sho& notes, consider limiting the pre-sho& notes to o2erall
production information Ecredits, etc4C and the first act3s details Esettings,
costumes, characters, etc4C4 %hen, return during the final minutes of
intermission &ith notes to descri!e the second act3s details, important
reminders from the pre-sho& notes, and, if time allo&s, share additional
information from the pla"!ill4
Bote7 At the end of the pre-sho& notes and at the end of the first act, tell listeners that
during intermission &hat "ou &ill share &ith them so the" ma" decide if
the" &ant to return in time to hear that information4 Assuming that some
of the listeners &ill not hear the full intermission notes, repeat the
essential information during the second act &hene2er possi!le4 Df the
ne& information for the second act is 2er" !rief, listeners ma" appreciate
its inclusion at the end of the pre-sho& notes or &hile the house lights
are dimming for the second act4
>ee Appendi, A for a portion of the descri!ers3 script for one of Access %heater3s 5>torm
@eading46 %o 2ie& the e,cerpt &ith description, go to7
http711&&&4audiodescri!e4com1samples1
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DABC-
- Ahat %o Dnclude
The -tor%0 -ssentiall", all choreograph" can !e considered to con2e" 5a stor"6, e4g4,
a choreographer3s concept4 Close consideration of the ideas !ehind
the danceHas determined !" the o2erall structure of the mo2ementsH
&ill allo& a descri!er to con2e" a compelling image, rather than !eing
trapped in the repetition of a series of steps4 And, of course, the sound
of the mo2ements, sound effects and the musical score E&hich can
often include silenceC must !e preser2ed for the dance audience to
appreciate and enjo"4 Aith dance description, it3s important to find the
5stor"6 it tells7 &hat main idea does the dancing communicate to the
2ie&er, &hat is the essence of the danceI Ahat information &ould !e
most important to allo& a !lind audience mem!er to e,perience the
performance as full" as possi!le, to help him follo& the meaning of the
choreograph"I
1ow and 2hatHAhich elements comprised the structure and themes of the
choreograph", and &hat &ords &ould most succinctl" con2e" those ideas
Hthe 5ho&6 as opposed to the 5&hat6I %here is a significant difference
!et&een sa"ing &hat someone is doing and descri!ing ho& the" do it4
Description is often a!out &hat a mo2er is doing4 But to con2e" as much
information in as fe& &ords as possi!le, the" often need to descri!e ho&
the mo2er is accomplishing the action4 Ahat sort of path&a" in space
0*
does the mo2er follo&I =o& does the shape or 5attitude6 of their !od"
con2e" character or conte,tI Ahat d"namic 8ualities of the mo2ement
fla2or its meaningI
:or e,ample, one piece might !e mostl" 5a!out6 spatial patterns and se8uences of
group clustering and scattering? the dancers3 specific mo2ements ma" !e
less important, and their indi2idual characteristics Egender, hair color,
!od" shape, etc4C ma" not matter at all &ith respect to the content !eing
e,pressed4 Dn another piece, &here each dancer pla"s a uni8ue
character, those particulars, along &ith 2arious mo2ement com!inations
and !od" attitude, can !e meaningful factors4
Be -electiveHAs &ith an" genre Etheater, media, operaC, 2isual images in danceH
multiple mo2es in se2eral shapes and on 2aried le2elsHcan occur in
8uic$ succession and e2en simultaneousl"4 Dancers do not al&a"s
perform in unisonN Again, a description that attempts to con2e"
Ve2er"thingV &ill con2e" nothing &ell4 %he specifics of each mo2e are
less important than the o2erall patterns created !" their com!inations
thus creating a st"le EtapI, AfricanI modernIC, concept Ea particular
ideaIC or 5the 2ision,6 if "ou &ill, of the choreographer4
- Kno&ing Dance
0;
>ome !elie2e that it is helpful for the descri!er to understand the foundation of the
dance st"les !eing 2ie&ed or immerse him1herself in the 2oca!ular" of
5the dance46 %a$e careH
aC a descri!er need not ha2e deep $no&ledge or e2en enjo" e2er" su!ject he1she
descri!esHmost important is $een o!ser2ation of the mo2ement and
Vmo2ement patternsV and a 2oca!ular" that allo&s its 2er!al e,pression
in clear and 2i2id terms?
!C jargon or la!eling are 5short cuts6Hit3s 8uic$er and easier to sa" 5pliU6 than 5a
!ending of the legs at the $nees46 But its first use must accompan" the
actual description to accommodate listeners &ho ha2e no prior
$no&ledge of !allet terminolog", for instance4 Dt ma" !e that in a li2e,
performing arts conte,t, pre-sho& notes can !e used to introduce
certain 2oca!ular" for selected mo2ements and then those &ords could
!e used during performance? the descri!er ma$es a judgment &ith
respect to &hat language is &ithin the realm of 5general $no&ledge6,
e4g4, choreograph", ensem!le, and the use of these &ords &ill help
couch descriptions &ithin the genre?
cC in the &ords of Paul Valer"7 5>eeing is forgetting the name of &hat one sees6 As
noted earlier under 5Core >$ills,6 la!elsHfor mo2ements, terms, jargon
Hta$e us a step a&a" from trul" loo$ing at the particular image or
mo2ement7 it3s a pliU, "es, !ut &hat3s the nature of this particular pliUIN4
%he score
0K
Consider ho& the range of mo2ements interacts &ith an" accompan"ing score4 Be
certain to time description to empathiFe &ith choreographic intent, e4g4,
an increasingl" furious s&irl that is in consonance &ith the crescendo of
a drum, culminating &ith a loud crac$N =o& disappointing it &ould !e if
the descri!er &ere spea$ing 5o2er6 the artists3 carefull" crafted ending4
Bre2it"
Gse as fe& &ords as possi!le, 2i2id &ord, &ords that e2o$e specific and clear images4
Ds it a jumpI =o& highI A s&irlI A t&irlI Are arms and legs a$im!o
EdefineC or simpl" pointed to the side li$e the lim!s of a tree Euse of
simileCI
@esist the temptation to assume that, &ithout dialogue Ein man", !ut not !" an" means
allC dance pieces, "ou ha2e more time &ithin &hich to descri!eN -,tra
2er!iage in2aria!l" complicates and confuses4 But occasionall"
description of sound has its place &hen its origin could !e a m"ster" Ea
slap on the ground or a $nee, a hoot, etc4C4
Df the dance performance includes a music score, allo& the listener to enjo" it7 constant
step-!"-step description can !ecome tedious and e2en o!scure the emoti2e meaning of
the dance4 A summar", !ased on careful 2ie&ing of the choreograph", is appropriate
Ee4g4, %he fair" is transformed into a dragon &ith glittering green scales4 >he ho2ers
a!o2e the forest of thorns at >leeping Beaut"3s palace, circling her cla&-li$e hands as if
0+
casting a spell4C
>cenic elements
Again, as &ith other formats, dancersT appearance and costumes, scenic elements
and props, also can inform the o2erall and the particular effect of the
performance and must !e noted according to the descri!er3s judgment4
#usicals
#usical theater offers particular challenges and opportunitiesHl"rics must !e
respected !ut the pauses !et&een refrains or repeat choruses pro2ide
precious seconds &ithin &hich description ma" !e inserted4
:or e,ample, 5%he Cha2a Ballet6 in 3iddler on the 4oof pro2ides an opportunit" to
highlight mo2ement characteristics of indi2iduals and plot elements
Eeach daughter lea2ing her famil"C that reinforces an understanding of
character and the narrati2e4 Be certain that the 2isual images that
con2e" these important points are descri!ed &ith 2i2id language and
specific image-e2o$ing &ords and metaphors4
%ouch
As &ith an" performing art e,perience, descri!ers do &ell to !orro& the 5please touch6
attitude of the !est museum educators &ho incorporate tactile and other
sense e,perience &ithin access programs4 Pre-sho& !ac$stage
0
sensor" EtactileC tours help audience mem!ers !ecome in2ol2ed &ith
the performance, e,ploring props and costumes, and e2en dancers
!odiesN
-,perience
:inall", allo& dance audiences to disco2er the 2isual image !" e,periencing it in their
o&n !odies4 -,plore the potential for esta!lishing pre-performance
&or$shops led, ideall", !" a mem!er of the dance compan" or its staff
along &ith the descri!er4 (nce again, this is a techni8ue that is often
emplo"ed !" our colleagues in museumsH&hat !etter &a" to
understand the image of a tall o!elis$ Eonce more, the Aashington
#onumentIC than to V!ecomeV that structure, stretching highI A pliU
!ecomes $no&n not simpl" as an intellectual concept !ut as an acti2it"
that is a part of ones o&n !od"? a 5time step6 !ecomes associated &ith
the mo2ement and sound of ones o&n feet and &ill !e immediatel"
recogniFa!le in performance4
>ee Appendi, B for a 2oca!ular" list of &ords related to mo2ement4
>ee Appendi, C for a portion of the descri!ers3 script for one of A,is Dance Compan"3s
pieces7 5Dust6, choreographed !" Victoria #ar$s4 %he script is designed
to !e spo$en &hile the mo2ement occurs? 2ie&ing a tape of the piece,
"ou &ould notice that much has !een left unsaid in order to focus on
<0
communicating mood, theme and choreographic structure, &hile lea2ing
aural space for the impact of the musical score4 Ae in2ite "ou to test the
description !" ha2ing it read aloud to "ou4 %o &hat e,tent does hearing
the dance allo& "ou to seeI
%o 2ie& the e,cerpt &ith description, go to7 %BD
<)
(P-@A
>urtitles
(pera, e2en &hen sung in -nglish, re8uires that someone read the surtitles projected
a!o2e the stage4 'enerall" t&o descri!ers, a male and a female, are
emplo"ed--one to read the translations, the other to descri!e4 %he
contrast in 2oices allo&s the listener to discriminate !et&een the t&o
functions4 %he process is something li$e using t&o sign language
interpreters to shado&-sign dialogue in a pla"4 A splitter on an infra-red
transmitter that can accommodate Vt&oV microphones is often helpful? for
:# transmission, the splitter and a plug-in transmitter ma" !e re8uired4
%he surtitle 2oicer need not identif" the soloist &ho is singing Eindeed, that &ould !e
distracting and unnecessar"C !ut he1she should use su!tle shifts in 2ocal
tone to con2e" shifts !et&een character4 >ince the te,t on the screen
can change 8uic$l", the surtitle reader, steering the li!retto through the
performance, generall" has 5right of &a"6N -nsem!le singing can
present a uni8ue challenge7 #oFart included man" scenes in &hich
e2er"one simultaneousl" sings / a different te,tN Although there are
surtitles, the" are confusing e2en to the sighted audience since the" ma"
or ma" not identif" &ho is singing &hat4 Dn this conte,t, it is helpful to
identif" &hich characters are singing and allo& listeners to rel" on a pre-
sho& plot summar" Esee !elo&C4(ne solution to the o2erall pro!lem of
<2
reading the copious amount of language represented !" the surtitles Ethe
entire li!rettoNC is to a!ridge the te,t, lea2ing out all !ut the most essential
dialogue4 An ad2ance cop" of the surtitles is e,tremel" helpful in this
regard4
@espect the #usic
As has !een stated &ith respect to description in general7 our constituenc" uses our
ser2ice as a tool to achie2e an endHgreater access to the arts, in
particular4 %he users of description are in an arts setting to e5perience
the art form--not to hear the descri!er4 Description is in ser2ice to the art
form and to the user and to the client &ho ma" emplo" the descri!er4
>imilarl", arts attendees come to the opera to hear the music, especiall" the singing,
and e,perience the opera3s 2isual spectacle4 Dt3s critical then that the
descri!er respect arias and stri2e to limit description to orchestral
passages4 %he reader, of course, still has to con2e" the te,t4 Dn
nineteenth-centur" opera, aria te,ts are relati2el" short and entail much
repetition? the reader3s role can !e minimall" disrupti2e in those cases4
@epetiti2e phrases or pauses can !e used to pro2ide description or
con2e" te,t4 Dt3s helpful, though, to &ait a fe& moments to allo& singers
to Jesta!lishJ a chorus or recitati2e Esung dialogue generall" in the
rh"thm of ordinar" speech &ith series of &ords on the same noteC4 B"
<0
contrast, for Aagner and later composers, much opera lea2es no sharp
distinction !et&een arias and recitati2e
Kno&ledge of the 'enre
As discussed in earlier sections, an understanding of a particular genre can !e helpful,
particularl" &ith respect to o2erall flo& and st"les or traditions4 An o2er-
emphasis on jargon can !e counter-producti2e4 Aith opera, ho&e2er,
there are special reasons to spend time !ecoming familiar &ith the
production3s score and li!retto4 Kno&ing the score Ein opera, as &ell as
life and in !ase!allNC &ill help the descri!er $no& in ad2ance &hen there
ma" !e a2aila!le passages for insertion of description or the reading of
surtitles4 Also, the insertion of description into short passages of
instrumental music.sometimes onl" a couple of measures.could re8uire
that the descri!er 5count !eats6 and prepare a description that doesn3t
o2erflo& into the singing and the reader3s translation4
A t"pical e,ample Eand one solutionC noting the importance of coordinating action &ith
!rief instrumental passages in2ol2es 6adame Butterfl%# Dn a scene
during &hich Butterfl" sho&s her scant possessions to her hus!and-to-
!e the American na2" officer Pin$erton, she names each o!ject, and
sho&s Pin$erton an o!long pac$age, &hich she does not un&rap !ut
places near her household shrine4 %he pac$age contains the dagger &ith
&hich her father committed seppu$u Ehonora!le suicideC and &hich
<<
Butterfl" &ill use similarl" at the end of the opera4 %he descri!er has
e,actl" si, !eats of orchestra music to descri!e that pac$age and &here
it ends up Ewithout undue emphasisNC4 >olutions include simpl"
descri!ing the &rapped pac$age &ithout relocating it until the
intermission notes for Act 04 =o&e2er, since sighted opera patrons
al&a"s recei2e a plot s"nopsis in their printed programs, there is no
suspense as to &hat happens ne,tHthis &ill !e true for patrons using
description if the s"nopsis has !een read aloud4 Df so, the descri!er
might simpl" sa", 5Butterfl" sho&s the &rapped dagger46 -2en so, to
retain the mood and the opera3s dramatic elements, it ma" !e !est to
proceed as though the listener does not $no& the plot, a solution that is
more in $eeping &ith AD guidelines for spo$en drama4
:inall", most opera productions ha2e relati2el" fe& technical or dress rehearsals and a
limited num!er of performances4 %hus, descri!ers ma" ha2e fe&er
opportunities to pre2ie& the &or$ !efore the descri!ed performance4 %o
augment the fe& rehearsals and performances a2aila!le for pre2ie&ing,
loo$ for e2er" opportunit" to !ecome familiar &ith the opera and timing
critical to preparing description7 read the li!retto, listen1read the score,
&atch a 2ideo of another production of the same operaH$eep in mind,
ho&e2er, that the descri!er3s o!ligation is to con2e" the images
in2ol2ed in the particular production !eing presented4 %a$e care to
focus on the production at hand Eat e"eIC4 As &ith other genres, it ma"
<*
!e possi!le to &or$ &ith a production compan" to increase familiarit" of
costumes, set pieces and e2en directorial elements4 %he compan" ma"
ha2e access or education staff that can assist4 Dndeed, it ma" !e
possi!le to attend a sit7probe Ea seated rehearsal &hich !rings together
singers &ith the orchestraCHadjustments to the score for the particular
production &ill !e e2ident at this rehearsal and &ill inform the descri!er
regarding time frames a2aila!le for description4
Pre-sho& notes
As &ith spo$en drama, pre-sho& notes pro2ide an opportunit" to pro2ide description
and information a2aila!le to sighted patrons in a more rela,ed time
frame4 :or opera, the plot s"nopsis from the printed program is readH
this information is a2aila!le to all patrons and is in no &a" 5special6
material for AD users4 %he reading of a plot s"nopsis, ho&e2er, can
in2ol2e a fair amount of time7 it3s &ise to communicate in ad2ance &ith
AD users so e2er" effort is made to arri2e &ell in ad2ance of the start of
the opera4

Pronunciation
Pre-sho& notes should include the pronunciation of all character names or other
possi!l" unfamiliar &ords and names that appear in the te,t or the
program Ee4g4, composer and conductor namesC4 An e,cellent model for
pre-sho& notes is the format de2eloped for #etropolitan (pera radio
<;
!roadcasts4 Pioneered !" #ilton Cross in the <0s, these introductions to
each act of an opera are first-rate e,amples of an important element of
opera descriptionH!efore there &as opera description4
<K
A$)# )E+!R,T#" 8$)E%"E+2(E+T ,RA!T!E+
ME)A
Please note7 Dt is highl" recommend that descri!ers of JmediaJ also read the guidelines
that pertain to theatre and opera Ea!o2eC4 #an" of those same situations one finds in
the performing arts are portra"ed on the Jsmall screenJ and the Jsil2er screen4J
'eneral7
- Audio description for film, !roadcast tele2ision and DVD is scripted and recorded on an
audio trac$ that is either mi,ed &ith or is separate from the material3s
soundtrac$4 %"picall", description is mi,ed &ith the original program
audio prior to !roadcast or on a DVD and included as a separate audio
trac$4 %his allo&s the original soundtrac$ to !e duc$ed in and out to
accommodate description that ma" step on the occasional line of dialog
or musical score4 (ften, in a mo2ie theater, the description &ill e,ist on a
distinct trac$ so that its 2olume can !e controlled separatel"4 Descri!ers
&rite complete, accurate descriptions that generall" &ill fit precisel" R9>S
during the a2aila!le pauses !et&een dialogue or critical sound elements4
- @ead the script aloud at the rate it &ill !e read for recording to 2erif" its timing4
- Allo& listeners to appreciate the media3s score &ithout interjecting descriptions4 (nl"
interrupt for 2ital, timel" information that must !e descri!ed during the
<+
music4 Dt3s important for descri!ers to !e mindful of the film3s o2erall
aural structure Eincluding its sound effectsC, &ell !e"ond simpl" the
dialogue Esee dialogue, discussed !elo&C4
- As &ith other genres, the narrator3s 2oice should !e 5in consonance6 &ith, should
complement the materialHit should !e distinct from the 2oices of the
characters and1or the program3s narrator and mi,ed to sound as natural
to the &or$ as possi!le4 %he description ser2es the production and
should !lend into it4
- >ometimes a descri!er &ill descri!e &hat3s a!out to appear !ecause there is no pause
a2aila!le for description &hen it does appear EforeshadowingC4 Dn this
&a" the descri!er also 5prepares6 the listener for &hat is a!out to
happen4 :or instance, the current image Ea &aterfallC and its sound ma"
not !e 5in s"nc6 &ith the description7 5A BA>CA@ racetrac$ &ith a doFen
cars circling the trac$46 Dt ma" !e that a line could !e preceded,
on occasion, &ith 5ne,t6 or 5in a moment46 %his alerts 2ie&ers &ith lo& 2ision that the
racetrac$ isn3t onscreen at present4
- >imilarl", on occasion there is no silent opportunit" to descri!e something essential to
listeners3 understanding &hile that specific 2isual image is on the screen4
%he descri!er ma" need to omit a less significant description of &hat3s
onscreen in order to interject the critical description4
<
Ddentification
As &ith other art forms, characters in film and 2ideo ma" !e introduced !ut unnamed
until identified &ithin the film4 Gse a significant ph"sical characteristic to
descri!e 1 identif" the characters4 Dn the case of non-dramatic or
educational material, particularl" &or$ that is designed for "oung
2ie&ers, it mat !e accepta!le to identif" indi2iduals as time allo&s and in
$eeping &ith curricular o!jecti2es4
Bote7 %he relationships !et&een characters ma" not !e apparent, !ut in dramatic
productions, in particular, con2e"ing information a!out these
relationships is the filmma$er3s responsi!ilit"Hnot the descri!er3s4 @efer
to these relationships onl" after the" ha2e !een re2ealed &ithin the
conte,t of the media4
Dialogue
Df a description is essential and a pause is minimal, the descri!er ma" ha2e to step on
the first s"lla!le or t&o of dialogue or narration4 %his often occurs &hen
the 5ne,t 2oice6 must !e identified so listeners &ill understand the
spea$er3s 2antage point4 Dt is accepta!le to 5co2er6 dialogue &hen the
original soundtrac$ !egins &ith dialogue that is, in the conte,t of the
*0
o2erall production, relati2el" inconse8uential E5Gh /6, 5-r /, 5=mm /6
etc4C4 %his is especiall" true of educational1training productions &here
appreciation1enjo"ment of content E&hile still importantC is secondar" to
the stated learning goals of the program4
>cene Changes
>cene changes can !e confusing particularl" &hen the soundtrac$ does not indicate a
change4 >implicit" is al&a"s a guide7 5Dn the !edroom,6 5At the police
station,6 etc4 Actions, characters, and details can !e confusing if &e
don3t $no& &here &e are4 Ahen there3s a change of place, start the
description &ith the location E5general to the specific6C4
-,ample7 5Dn their !edroom, 9ohn and #ar" em!race tightl" and $iss on the lips46 %he
preceding scene too$ place &ith the &hole famil" gathered around the
dining ta!le and nothing on the soundtrac$ indicates &e32e changed
locale4
(n occasion descri!ers use the &ord 5no&6 or 5ne,t6 to indicate a change of scene4
Because there &ill !e man" opportunities that seem to call for the use
this &ord, use it onl" &hen a!solutel" necessar"Hits use should be
limited4
*)
As time permits, descri!e montages of images, !ut !e succinct and clear4 >imilarl", a
series of still images, such as those often used during a documentar"
inter2ie&, can !e summariFed !" highlighting se2eral significant images
!eing discussed !" the person or people !eing inter2ie&ed &hen the
images are rele2ant to the content4
Passage of %ime
Ahen descri!ing certain passages of time, such as flash!ac$s or dream se8uences,
descri!e the 2isual cues that let the audience $no& there is a flash!ac$4
(nce the con2ention is esta!lished, it can ser2e as a 5shorthand6, sa2ing
time if it reoccurs Eusuall" this 2isual con2ention is accompanied !" an
auditor" cueC4 :or "ounger audiences, it is sometimes impractical to use
descri!ing con2entions that one might use for adults4 Dn some cases, it is
necessar" to e,plicitl" tell the audience &hat is happening rather than
descri!ing the action Ee4g4, flash!ac$ or dream se8uenceC4
Address time shifts Eflash !ac$s or 2isions of the futureC in relation to the
character, i4e4, tailor the description to the characters4 :or instance,
9oe3s hair is jet-!lac$, #ar"3s s$in is &rin$le-free4 (r, 5Lighting shifts to
pale am!er as 'eorge, as a "oung !o", sits at the famil" dinner ta!le46

Gse 5&hile6 and 5as6 to join t&o actions onl" if there is a connection !et&een them4
-,ample7 59ohn pic$s up the $nife as 9ill turns a&a"46
*2
Consistenc"
GtiliFing the same character names and1or 2oca!ular" throughout a production or series
of productions is essential4 :or instance, on a longer production, often
more than one description &riter &ill &or$ on its description script4 Dt3s
critical that the draft final script is re2ie&ed in its totalit" for consistenc"4
9argon
9ust as a descri!er for a li2e performance should a2oid theatrical jargon or references, a
film or 2ideo descri!er should a2oid calling attention to the filmma$ing
process4 'enerall" it3s appropriate to a2oid filmma$ing jargon and
reference to filmma$ing techni8ues, e4g4, 5panning6 or 5Fooms in46 As
&ith man" description guidelines, practice in this area 2aries7 some
descri!ers !elie2e that 5close-up6 or 5fade to !lac$6 is a simple
description of &hat can !e seen? others con2e" the images that are
highlighted !" the filmma$er &ithout noting the camera techni8ue, e4g4,
an arched e"e!ro&, a !ee ho2ers at a flo&er, etc4
Point of Vie&
Descri!e the point of 2ie& &hen appropriateH5from a!o2e,6 5from space,6 5mo2ing
a&a",6 5fl"ing lo& o2er the sand" !each,6 etc4 Dt is understood that a
film12ideo1DVD is !eing 2ie&ed? repeated references to the screen are
unnecessar"4 Another often-a!used point of reference is 5the camera46
*0
Gnless there is a camera on the screen, it is improper to refer to 5the
camera6 as an orientational guidepost Ee4g4, the &hale 5lunges
for&ard,6Hit does not 5s&im to&ard the camera46
(ccasionall", the audience is directl" engaged, particularl" &ith children3s material or
educational productions4 An on-screen character might as$ the audience
to 5Aatch me and follo& along,6 or an instructor might as$, 5Can "ou see
&hat color the li8uid is turning in the !ea$erI6 Dn such cases, it is
important for the audience mem!ers to $no& that it is the" &ho are !eing
addressed Eas opposed to an on-screen characterC4 (ne &a" to
accomplish this is to refer to the audience as 5"ou46 Again , this is an
area &here practices differ and more discussion 1 research &ould !e
2alua!le4
Logos 1 Credits
%reat logos as an" other image to !e descri!ed and read the compan" nameEsC4
@eading disclaimers and credits at the !eginning and end of films, 2ideos and tele2ision
programs is an important function of audio description4 Dn addition, the
descri!er should read te,t and su!titles4 'enerall", on first appearance,
te,t or su!titles can !e introduced &ith a phrase such as, 5Aords appear6
or 5>u!titles appear46 >u!se8uentl", tone of 2oice ma" !e emplo"ed to
dra& a distinction !et&een description of on-screen action and the
*<
reading of te,t or su!titles4 Bear in mind that &hen using a description
con2ention such as 5&ords appear,6 it is important to preser2e the clause
Ee4g4, don3t sa" 5%he &ords, >a2ing Mour #one", appear6Hsa" 5Aords
appear7 >a2ing Mour #one"64
>u!titles or on-screen te,t intended to translate speech Edue to language differences,
speech impediments, or other factorsC should al&a"s !e included
2er!atim in the description4 Df necessar", the original dialog and1or
narration should !e duc$ed out to a2oid unnecessar" confusion on the
part of the 2ie&er4
Bote7 Because the descri!er can ne2er read as rapidl" as the onscreen credits appear
and disappear, the descri!er must 5edit6 this material and ma" include a
line such as 5(ther credits follo&46 - (ften, some or all of the opening
credits appear o2er the !eginning of the action4 Dn this situation, attempt
to descri!e the action in s"nc &ith the material and read the credits
!efore or after their actual appearance4
>ome descri!ers &ish to include credits and contact information for the description
producing compan" and1or name the 2oice talent used4 Descri!ers must
!e guided !" the polic" of the film production compan" or the client
contracting for the description4 (ften time a2aila!ilit" &ill !e 8uite limited or
descri!ers are !ound !" certain contractual limits4
**
-nhanced Description
:or DVDs, enhanced description can !e emplo"ed to pro2ide additional detail 2ia a lin$
to a pop-up &indo& or e2en a lin$ to a &e!site4
>imilarl", DVDs allo& for ela!oration on elements that cannot !e ade8uatel" descri!ed
during the !od" of a production, a$in to pre-sho& or intermission notes
used in descri!ing performing arts presentations4
*;
A$)# )E+!R,T#" 8$)E%"E+2(E+T ,RA!T!E+
1+$A% ART 2 E6'(T#"+
Bote7 #uch of the material in this section is adapted from guidelines posted at
&&&4art!e"ondsight 4org and Art -ducation for the Blind3s EA-BC
landmar$ ); pu!lication 6aking "isual Art Accessible to People 2ho
Are Blind and "isuall% /mpaired#
Audio description for 2isual art con2e"s 2isual images &ith language that often includes
tactile references Ee4g4, siFe and shapeC4 Dn a museum or at an
e,hi!ition of an" sort, a 2er!al description also includes standard
information included on a la!el, such as the name of the artist,
nationalit", title of the art&or$, date, dimensions or scale of the &or$,
media and techni8ue4
#G>-G# %(G@>
'eneral7
- Audio description, often as part of a touch tour, enhances the 2isitor3s tactile
e,perience4 Dt can also pro2ide access to a museum3s collection &hen
the &or$s of art are not a2aila!le to touch4 Ahen a group of 2isitors
includes !lind, 2isuall" impaired, and sighted 2isitors, museum
professionals or docents can incorporate in-depth 2er!al description into
their regular tour4 Df a classroom teacher conducts the tour, it is ad2isa!le
*K
for educators to 2isit the museum or historical site first to prepare the
audio description and follo& the principles outlined in this document4
- An audio descri!ed tour, &hether 5li2e6 or recorded, is different from the t"pical audio
tour offered !" a museum for the general pu!lic4 B" adding descriptions
of significant 2isual elements, more time ma" !e re8uired to co2er fe&er
elements and additional time should !e allocated for e,change &ith
2isitors4
- >ome museums create an additional audio guide for !lind and 2isuall" impaired
2isitors or include e,tensi2e audio description of art&or$s in their
standard audio guide4 >ighted museum 2isitors report that the" !enefit
from this practice as &ell4 :ollo&ing a 5uni2ersal design6 concept, e,hi!it
designers are increasingl" com!ining standard audio tours &ith audio
descriptions, an 5all-in-one6 or 5uni2ersal design6 concept4
- Depending on the nature of a particular space or the design of the e,hi!it !eing
descri!ed, directional information ma" !e included ena!ling listeners to
na2igate the space independentl"4
:or -ducator or Docent-Led %ours
Audio description is used throughout an e,hi!ition to descri!e displa"s, to respond to
particular 8uestions, and to encourage dialogue4 %he pace and le2el of
*+
detail of description can !e adapted to indi2iduals !ased on their degree
of sight loss and their prior e,perience ma$ing art or loo$ing at art4
Ahen planning a tour, $eep in mind that audio description adds time4 %herefore, fe&er
&or$s ma" !e included on a tour4 A general rule of thum! is to use half
the num!er of &or$s "ou &ould use in a tour &ithout audio description4
>o itTs important to carefull" select the &or$s for "our tour4
De2elop audio description scripts for the o!jects on "our tour and re2ie& them &ith
2isuall" impaired ad2isors for effecti2e language, clarit" and length of the
descriptions, and appropriate pace of the tour4 Audio description is also
an essential part of a touch tour or a tour that includes tactile diagrams or
tactile elements4 As audio description s$ills increase, these scripts &ill
ser2e as guidelines, rather than as a te,t to !e memoriFed4
Ahen first meeting a group that includes people &ho are !lind or 2isuall" impaired,
!riefl" descri!e the lo!!" or meeting space4 %hen, so that "ou ma" adjust
"our tour to "our 2isitors needs, find out more a!out the t"pe and degree
of 2isual impairment4 As &ith all audiences, tr" to relate the indi2idualTs
life e,periences to the content in the &or$ of art4 %hroughout "our tour,
include !rief descriptions of galler" spaces through &hich "ou pass and
museum architecture4 Mou might include the siFe of the space, t"pe of
*
art, or other general information a!out the atmosphere or am!iance of
the museum4
Dt is important to $eep audio description distinct from information a!out the historical
conte,t4 Df "our tour includes !oth sighted and 2isuall" impaired people,
present "our 2er!al description first4 %his creates e8ual opportunit" for
further discussion of historical conte,t, !iograph" of the artist, or other
information important for all audiences to understand the &or$4
(ne strateg" fre8uentl" used during school-aged group tours could !e used &ith all
groups7 elicit audience response through directed 8uestioning4 Df "ou
ha2e an integrated class, &ith !oth sighted and 2isuall" impaired
students, include e2er"one in the audio description process4 As$ sighted
students to descri!e elements in the &or$ through directed 8uestioning4
%his creates an engaging atmosphere and strengthens o!ser2ation
s$ills4 At the end of each description, restate student responses and
summariFe o!ser2ations4
'et feed!ac$4 After the description of the first &or$, as$ one of the tour participants if
the description is meeting their needs or if "ou need to ma$e an"
adjustments4 At the end of a tour for people &ith 2isual impairments,
ta$e the opportunit" to emphasiFe the organiFation3s accessi!ilit"
;0
features and programming4 Create a sense of &elcome and encourage
a future relationship &ith the organiFation4
Dt is important to ac$no&ledge that description is a relati2el" ne& access techni8ue for
museums4 As a conse8uence, spaces using description ma" need to
consider &a"s in &hich the" can pu!liciFe these efforts in the target
communit"Hthis ma" also include the de2elopment of incenti2es to
encourage attendance addressing, in particular, the needs of people &ho
are !lind Eaccess to transportation, K0L unemplo"ment, etc4C4
:or Audio 'uides or Audio-descri!ed >elf-guided %ours
(nce "ou ha2e de2eloped 2er!al-description scripts, adapt them to create an audio
guide that all 2isitors can use in the galleries independentl"4 :or the user
&ith 2isual impairments, incorporate 2er!al description &ith na2igational
and orientation cues4 Ahen designing a tour, consider the effect of
fre8uent ph"sical changes in the galleries, such as chairs that are
mo2ed, deinstallations, or construction4
#useum staff &ho distri!ute audio guides to 2isitors should pro2ide a short orientation
on ho& to use the pla"er and guide4 %he pla"er should ha2e some t"pe
of nec$ strap so that a user has !oth hands free to use the !uttons, hold
a tactile, or use a cane or other assisti2e de2ice4
;)
Depending on the needs and resources of a particular organiFation, deli2er"
mechanisms &ill 2ar"4 >ome choices include7 audio cassette, CD, digital
&ands, or concealed triggering mechanisms4 %he last three mechanisms
are digital methods that allo& for la"ers of description and the option to
choose !et&een 2arious e,hi!its4

'enerall", 2isuall" impaired 2isitors need orientation and na2igational information that
can !e incorporated throughout the descri!ed tour4 >ome tours &ill $eep
this information on a separate trac$ or la"er of the tour allo&ing the
sighted user to s$ip such information4
Gsing cell-phone or digital &and s"stems or infrared or :#, s"stems Esimilar to those
used in a performing arts or mo2ie theater settingC, audio description
users can pri2atel" access descriptions4
:ocus on the >t"le
%he st"le of a &or$ of art refers to the features that identif" a &or$ as !eing !" a
particular artist or school, or of a mo2ement, period, or geographical
region4 >t"le is the cumulati2e result of man" characteristics, including
!rush&or$, use of tone and color, choice of different motifs, and the
treatment of the su!ject4 After the !asic information a!out su!ject,
composition, and mediums are con2e"ed, the 2er!al description can
focus on ho& these man" elements contri!ute to the &hole4 Dn a tour that
;2
includes se2eral &or$s of art, comparisons are an effecti2e &a" of
ma$ing st"listic features tangi!le4'eneral to the >pecific
>u!ject, :orm, and Color
%he !asic o!ject-la!el information is follo&ed !" an o2er2ie& of the image, con2e"ing
the general, o2erall conte,t and then proceeding to specific items4
'enerall", a coherent description should pro2ide 2isual information in a
se8uence, allo&ing a !lind person to assem!le, piece !" piece, an image
of a highl" comple, &or$4 Descri!e the focusHthe su!jectHthat is, &hat
is represented in the &or$4 :or e,ample, J%his painting features a
rec"cled >a2arin coffee can filled &ith a!out eighteen paint!rushes4J
Be,t descri!e the composition or st"le e4g4, !rushstro$es, or stippling, for
e,ample4 Aith respect to &or$s of art, include in this description the
color tones and the mood or atmosphere4 #an" people &ho ha2e lost
their sight ha2e a 2isual memor" of colors4
(rient the Vie&er &ith Directions
>pecific and concrete information is re8uired to indicate the location of o!jects or figures
in a &or$ of art4 >ometimes, a useful directional method is to refer to the
positions of the num!ers on a cloc$4 #ost !lind people are familiar &ith
this method of pro2iding direction4 :or e,ample, &ith respect to a
personTs face, the mouth is at si, oTcloc$4 Also, &hen descri!ing a figure
depicted in a &or$ of art, remem!er that the image is the e8ui2alent of a
;0
mirror image4 @ight and left can !e 2er" am!iguous terms unless the"
are 8ualified4 Accordingl", "ou should descri!e the figure according to its
right or left, and al&a"s 8ualif" this description4 :or e,ample, J%he
&omanTs right hand holds a small go!let4J
Clear and precise language is crucial to an" good description4 After the general idea of
the &or$ is con2e"ed, the description should !e more 2i2id and
particulariFed4 Descri!e pertinent details, and focus on different parts of
the &or$4
Art Con2entions
Art terms and pictorial con2entions such as perspecti2e, focal point, picture plane,
foreground, and !ac$ground should al&a"s !e defined for "our audience4
%"picall", it is useful to introduce the definition or concept &hen the
discussion turns to that aspect of the &or$ of art4
Dndicate Ahere the Curators =a2e Dnstalled a Aor$
'enerall", a &or$Ts placement in an institution re2eals important information a!out its
meaning, as &ell as its relationship to other &or$s in the collection4 %ell
the listener &here the &or$ is located in the institution4 Dnclude in "our
discussion a description of the galler" or sculpture garden &here the
&or$ is installed, and mention the surrounding art&or$s4 Descri!e ho&
;<
the &or$ under discussion relates to these other &or$s, as &ell as to the
2ie&er and the surrounding space4
@efer to (ther >enses as Analogues for Vision
%r" to translate a 2isual e,perience into another sense4 (ther senses, such as touch or
hearing, ena!le description users to further construct highl" detailed
impressions of a &or$ on displa"4 :or instance, refer to the sense of
touch &hen descri!ing the surface of a sculpture4 A comparison !et&een
the rough-he&n te,ture of Auguste @odinTs Bal7ac E)+2-KC and the
glassli$e finish of Constantin BrancusiTs Bird in -pace Ec4 )2KC can !e
2er" instructi2e4 (r compare a 9apanese tea-ceremon" jar, &ith its
irregular shape and unfinished surface, &ith a highl" refined Chinese
&hite-porcelain statuette from the eighteenth centur"4 Dn !oth of these
ceramic &or$s, the degree of surface refinement is an integral part of the
&or$Ts formal 2alue, as &ell as of its meaning4
-,plain Concepts &ith Analogies
Certain $inds of 2isual phenomena, such as shado&s or clouds, ma" !e !est descri!ed
&ith a &ell-chosen analog" or metaphor4 %o construct a helpful analog",
choose o!jects or concepts from common e,perience4 Dn a description of
Pa!lo PicassoTs Cubist painting 8irl with a 6andolin *3ann% Tellier,
;*
E))0C, "ou might compare the image of the figure to a shattered &ine
!ottle &hose fragments ha2e !een reassem!led in different positions4
-ncourage Gnderstanding through @eenactment
>ometimes, it ma" !e helpful to ha2e the e,hi!it 2isitor e5perience the image, i4e4, the
listener could mimic a depicted figureTs pose4 >ince e2er"one is a&are
of his or her o&n !od", this acti2it" pro2ides a concrete &a" of
understanding difficult poses depicted in a painting4 Additionall", !"
assuming the pose, the description user can directl" percei2e important
formal characteristics of the &or$, such as s"mmetr" or as"mmetr"? open
or closed forms? implied action or repose? smooth, flo&ing lines or
angular ones? and the degree of engagement &ith the 2ie&er4

Dncorporate >ound in Creati2e Aa"s
>ound can ser2e an interpreti2e and descripti2e purpose, particularl" as an auditor"
analogue for a &or$ of 2isual art4 A uni8uel" designed soundscape can
e2o$e the e,perience of a displa"4
Another &a" to use sound creati2el" is to pro2ide on-site recordings of architectural
spaces4 :or instance, a listener could hear the !ustling sounds of >t4
PeterTs piaFFa in @ome as he or she approaches its depiction4
Allo& People to %ouch Aor$s of Art or Artifacts
;;
Pro2iding an opportunit" to touch three-dimensional &or$s gi2es 2isitors &ho are !lind
or 2isuall" impaired an immediate, personal e,perience &ith an original
&or$ of art4 Direct touch is the !est &a" to e,plore an o!ject4 :or
conser2ation reasons, ho&e2er, some museums re8uire people to &ear
thin glo2es made of cotton or plastic4 An informal poll at the #useum of
#odern Art in Be& Mor$ indicated that most people prefer plastic glo2es
to cotton !ecause the te,ture and temperature of the &or$Ts material can
!e felt4
Alternati2e %oucha!le #aterials
Ahen it is not possi!le to touch original &or$s of art, alternati2e toucha!le materials can
!e pro2ided4 Dn some instances, alternati2e materials can pro2ide a fuller
and more complete understanding of a &or$ !ecause the" can !e
touched &ithout glo2es4 %hese au,iliar" aids include three-dimensional
reproductions? samples of art-ma$ing materials such as mar!le, !ronFe,
cla", and can2as? e,amples of the tools used in 2arious media, such as
paint!rushes, chisels, and hammers? and replicas of the o!jects depicted
in a displa"4 Additionall", it is helpful to ha2e a range of information
a2aila!le on the uni8ue characteristics of the materials and the &a" in
&hich the medium dictates the form4
%actile Dllustrations of Art&or$s
;K
#ost museum 2isitors &ant as much information as possi!le4 %actile diagrams or three-
dimensional dioramas of a &or$ of art are effecti2e &a"s of ma$ing 2isual
art accessi!le4 Diagrams are tactile illustrations of art&or$s, and the"
are essentiall" relief images4 %he" do not represent the actual o!ject in
e2er" detail? the" are intended to !e used in conjunction &ith audio
description4
Classroom Lessons 1 Literac"
Audio description and discussions a!out the &or$ of art can !e a part of a class that
precedes or follo&s a museum 2isit4 %eachers can incorporate 2er!al
description of art, architecture, and design o!jects into histor", social
science, math, and other classes4 Precise and organiFed description is
one of the !asic tools of effecti2e communication4 Dt can impro2e
students3 a&areness of their en2ironment and enrich their 2oca!ular"4
%his notion represents a relati2el" ne& application for audio description7 as an aid to
literac"4 As "ou might imagine, some 5picture !oo$s6 for toddlers are
deficient &ith respect to the language s$ills the" in2ol2eHthe" rel" on the
pictures to tell the stor"4 But the teacher trained in audio description
techni8ues &ould ne2er simpl" hold up a picture of a !all and read the
te,t7 J>ee the !all4J =e or she might add7 J%he !all is red--just li$e a fire
engine4 D thin$ that !all is as large as one of "ouN DtTs as round as the
sun--a !right red circle or sphere4J %he teacher has introduced ne&
;+
2oca!ular", in2ited comparisons, and used metaphor or simile--&ith
toddlersN B" using description, these !oo$s Eor e,hi!its or children3s
2ideosNC are made accessi!le to $ids &ho ha2e lo& 2ision or are !lind
and simultaneousl" all $ids de2elop more sophisticated language s$ills4
Bumerous studies ha2e sho&n the 2alue of captions to children in the de2elopment of
literac"4 Dn a similar 2ein, a compara!le !enefit might !e o!ser2ed in
children e,posed to audio description4 DescriptionH&ith its focus on
o!ser2ation, clarit", and efficienc" of language useHcan !uild more
sophisticated literac" in children &ho are !lind, &ho ha2e lo& 2ision and
in VallV children4
Also, multisensor" art !oo$s created for people &ho are !lind or ha2e limited sight
integrate audio description, high-resolution reproductions of the images,
a tactile component, and sometimes an audio component4

DigitiFed =istorical Dmages
Dncreasingl", audio description is !eing used to impro2e access to digitiFed historical
images, such as old photographs, held !" li!raries, museums, and other
cultural institutions4 As these institutions continue to add large num!ers
of digitiFed historical images, the" are disco2ering that audio
description not onl" greatl" impro2es the accessi!ilit" and meaning of
;
these images for indi2iduals &ho are !lind or &ho ha2e lo& 2ision, !ut
also that the general population appreciates these percepti2e, carefull"
crafted descriptions4 (ne e,ample of ho& li!rarians are em!racing
audio description is the Audio Description Dllinois project
Ehttp711&&&4alsaudioillinois4net1C

Mou ma" access a range of e,amples of description for 2isual art at7
&&&4art!r"ondsight4org1hand!oo$1acs-2er!alssamples4shtml4 Another site sho&cases
the usage of audio description for architecture and pu!lic art4 'o to7
&&&4n"!e"ondsight4org4 RBLS
K0
APP-BDDC->7
AH Audio Description script for 5>torm @eading,6 !" Beil #arcus, produced !" Access
%heater
BHA sampling of 2oca!ular" for dance description from a La!an #o2ement Anal"sis
perspecti2e
CHAudio Description script for 5Dust,6 dance choreographed !" Victoria #ar$s
DHAnnotated audio description script for e,cerpt from the feature film The Color of
Paradise
K)
APP-BDDW A
Audio Descri!ers3 >cript for a Li2e %heater Performance EsegmentC
%o 2ie& the e,cerpt &ith description, go to7 http711&&&4audiodescri!e4com1samples1
B(%-7 Cues1original script material in (#%)? descriptions preceded !" 5XX46
XXAatercolor patches on a &hite screen -- from the left, a deep orange !rush stro$e, a
XXthin !lue stro$e, !ordering an area of "ello& at the right, &ith &hite at the !ottom4
XXAgainst this !right !ac$ground, a hand in silhouette emerges from the !ottom4 Dt
XXdisappears4 Bo&, the shado& of a man3s head in profile4 Gnfolding his !od" slo&l",
XXBeil #arcus rises4 =e steadies himself, gaining the control needed to stand upright4
XX=is full silhouette rises up&ard -- his legs form an upside-do&n AV@ shape in !lac$
XX&ith his right foot pointed in, to&ard his left4 #ore of the !ac$ground images come
XXinto 2ie& -- at left, a dar$ !lue? at the top, on the right, a rich green4
Ereal timeC
XXBeil3s left arm, his hand clenched in a fist, !ursts up&ard -- his right arm is thrust
XXacross his !od", pointing to his left4 %he" remain posed, still, in silhouette against the
XX!right &atercolor images, as titles appear7 Access %heater3s >torm @eading,
XXa dra&ing of a dense cloud at top, a thunder!olt stri$ing the (6 in >torm4
>>The audience area lights fade to black.
K2
XXBo&, Beil, in a motoriFed &heelchair, sports a full !ut neatl" trimmed !eard, !lac$
XXhair, and &ears a !lue turtlenec$ and !ro&n slac$s -- in the center of a small stage in
XXfront of a light !lue !ac$drop4
NEIL
People are watching me. They're watching me all the time...
9X>tage lights rise to full re2ealing large !lue-lit panels circling the stage area4 Katie, a
XXtall !runette in a flo&ing la2ender dress, joins Beil from the right and signs as he
XXspea$s4
#
NEIL
They're watching me even when they're pretending not to watch. They're
watching to see how well I do this thing called human.
XXBeil3s right leg is e,tended, pointing out to the audience4 Beil stretches his !od" to
XXthe left, carefull" phrasing each &ord4
MATTHEW
People are watching me. They're watching me all the time. They're watching me
even when they're pretending not to watch me.
>>#att emerges from the rear of the audience area, light !lue shirt, !lac$ pants, tall,
XX!londe, !earded4
K0
They're watching me to see how well I do this thing called human.
99At left, #att joins Beil and Katie4
Every dream I ever had, came true.
>>He kneels.
The person I never thought I was or could be, I am.
XX#att and Beil turn sharpl" to the audience4
XXLights fade4
Ein dar$ness, o2er applauseC7
XXLights rise -- Beil, #att, and Katie are at right4
MATTHEW
I come in contact with a variety of people during the course of a week:
"Conversation with a museum guard."
99Pulls a guard3s cap from !ac$ of Beil3s chair and steps to left of Beil4
Hey... Champ. How ya doin'? Hey, have you seen the museum before? Huh?
Have you seen the exhibits? Oh no, don't get up.
K<
99Pushes Beil !ac$ in his &heelchair4
Have you been outside yet? You can't break anything outside. No, no, no, don't
get up.
XX9a!s at Beil again4
Have you seen the frst foor? The second foor? Huh?
Hey--
>>Matt looks to the side of Neils chair.
What are you doing with these handcufs, huh? Got a pair just like 'em. No, don't
get up.
XXAnother push4
'ey9 you come bac/ and you as/ for me.
K*
99#att remo2es his guard3s cap4
MATTHEW (TO AUDIENCE)
"Conversation with a lady in the grocery store."
XX#att tosses the cap in a !as$et on the rear of Beils chair4 =e and Katie mime
XXpushing grocer" carts in a circle at right4
Hi. Oh uhh... can I help you? I'd be glad to help you... or should I mind my own
business?
NEIL
Okay.
MATTHEW
Well!! I'll mind my own business then!
XX%he" push their imaginar" carts off to the left4
XXLights fade e,cept at left &here Katie and #att reenter4 #att carries a laundr"
XXhamper4
K;
MATTHEW
(TO AUDIENCE) "Conversation with a guy in the laundrymat."
(TO KATIE) Oh... still damp.
>>=e mimes adding 8uarters4

#h9 well.
=e turns to the right and spots Beil4
NEIL
Hi.
MATTHEW
Hi, uhh, ^
XX#att loo$s a&a" and then !ac$ at Beil4
Uhh. Whoa, not too close now.. Uhh, you... you come here a lot?
NEIL
Oh yeah, I do.
KK
MATTHEW
Yeah, yeah. I always wait 'til I run out of clean clothes... yeah, before I uhh, come
here ...to do my laundry... yeah. ^1
XXBeil nods 2igorousl", his e"es &ide4
MATT'E:
Ohh... uhh, you uhh... well you
XX#att turns a&a" and !ac$ again, a&$&ard 444 puts hamper on floor4
... you get into any trouble lately?
NEIL
Oh, not really.
MATTHEW
Yeah, me neither. You know actually, life's been quiet for me too. Yep, just doin'
my laundry.
What are you doing?
>>Neil rises &ith small !o,, right leg e,tended4
K+
What are you doing?
>>Kic$s #att3s laundr" hamper4
Hey! Do you want some help? Of course you do. Here we go big guy.
>>#att pic$s Beil up from !ehind, t&irls &ith him in his arms, and sits in Beil3s chair,
XXBeil in his lap4
I got ya. I got ya. Here we go.
XX#att jumps up, Beil resumes his seat, !ut #att reaches for Beil3s !o,, falling o2er him
XXas Beil struggles to retain it4 #att gets the !o,
MATTHEW
I'm gonna help you whether you like it or not!
>>Dn Beil3s face, then he mimes operating a 2ending machine4
Okay, what do you like one cup or two?
NEIL
One.
99#att glances at Beil4
K
MATTHEW
I think you need two. There you go.
XX=e mimes pouring soap in machine4
We're going to work this one out me and you. We're going to work it out together,
huh.
>>Beil rises and gra!s the !o,4
Oh, a little attitude huh. I like that. So uh, what's your name?
XX=e !ends o2er close to Beil4 As Beil responds, his right leg is stiff and pointing
XXalmost straight up and then to the right4
NEIL
Neil.
MATTHEW
Well, Herbert,
>>Beil &inces, mimes 2oicing =er!ertI6 to the audience4
+0
I only have 2 pairs of pants. But a dime for 5 minutes in the laundry. Let me tell
ya that's a...
NEIL
What a bargain, huh?
MATTHEW
Yeah, right. Uhh...
>>Matt looks away.
Well... uhh ...see you in a month or two.
XX#att and Katie lea2e hurriedl" to the left4
+)
+2
APP-BDDW B
A sample &ord list, organiFed from a La!an #o2ement Anal"st3s perspecti2e E@udolph
La!anH)+K-)*+Hcodified s"stems for notating dance7
5La!anotation6 and 5La!an #o2ement Anal"sis6 or L#AC7
Voca!ular" for Audio Descri!ers7 Locomoting
V-@B> DBDDCA%DB' L(C(#(%D(B E%@AV-LLDB' %=@(G'= >PAC-C
Categor" Y)7 >ome !asic 2er!s that denote a specific Bod" Action
AALK, >%-P, @GB, 9G#P, =(P, >KDP, L-AP, 'ALL(P, %G@B
%hese &ords tell &hat the mo2er is doing4 Descri!ers need to !e succinct, !ut also
specific4 %o con2e" as much information in as fe& &ords as possi!le,
the" often need to descri!e ho& the mo2er is accomplishing the action4
Ahat sort of path&a" in space does the mo2er follo&I =o& does the
shape or 5attitude6 of their !od" con2e" character or conte,tI Ahat
d"namic 8ualities of the mo2ement fla2or its meaningI %he descri!er
needs to choose concise &ording that &ill capture the primar" elements,
communicating to the listener the most essential 2isual cues4
Belo& are some 2er!s meaning 5locomote6 &hich contain modif"ing information a!out
the 5ho&6 of the mo2ement4
+0
Categor" Y27 #o2ement D"namics
E%he main idea in the locomotion is seen through the mo2er3s use of d"namic factors7
flo&, time, force and focus4C
%he locomoting mo2ement is mostl" 5a!out6 :lo& Ereleasing or containingC7
:L(A, P@('@->>, >%@-A#, >G@'-, MD-LD, -A>-
>%D::-B, @->D>%, %D'=%-B
%he locomoting mo2ement is mostl" a!out %ime E8uic$ or sustainedC7
@AC-, :LM, DA>=, %@(%, DA@%, ACC-L-@A%-, =G>%L-, @G>=, ZDP, >P--D,
=A>%-B, >CG@@M, A=DZ, >%@(LL, LDB'-@, L(P-, =->D%A%-,
>AGB%-@, D-C-L-@A%-, DALLM, #(>-M, DAADL-
%he locomoting mo2ement is mostl" a!out :orce Estrong or lightC7
>%(#P, C@A>=, %=GD, %@GD'-, PL(D, CL(#P, LG#B-@
:LG%%-@, %DP%(-, :LD%
%he locomoting mo2ement is mostl" a!out :ocus Edirect or diffuseC7
%=@-AD, =(#- DB, %@-AD, %@ADL, %@ACK, :(LL(A, AABD-@, A-AV-,
-WPL(@-, >G@V-M
#an" locomoting 2er!s contain ideas com!ining t&o or three of these factors &ithin the
categor" of mo2ement d"namics4 :or e,ample7
E%ime and :orceC BA@@-LL, >%A#P, #A@C=, :LG%%-@, B(GBC-, PL(D
E:lo& and :ocusC @(A#, AD%=D@AA
E:orce and :ocusC LGB'-, >%ABDLDZ-
E%ime and :lo&C #(BDLDZ-, CAV(@%
+<
E%ime and :ocusC P@ABC-, AAV-@
E:lo& and :orceC >G@'-, #DBC-, D@D:%
E:orce, %ime, :ocusC :L(A%, P(GBC-, 'LDD-, :LDB', '@DBD, :LD%, P@->>
E:orce, %ime, :lo&C :LADL, CA@--B, BG@>%, >%A#P-D-
E%ime, :lo&, :ocusC %@AB>P(@%
Categor" Y07 >pace E>patial Direction or Path&a"C
E%he 5main idea6 in the mo2ement is &here it goes and ho& it na2igates through the
en2ironment4C
-B%-@, APP@(AC=, A@@DV-, CD@CL-, BAVD'A%-, CD@CG#BAVD'A%-, >DDL-,
>%-P, A-BD, #-ABD-@, >%@A''L-, ZD'-ZA', AB'L-, AABD-@,
>PD@AL, (@BD%, :(LL(A, :(@'-, >LDD-, %@AV-@>-, -VAD-,
DB%@GD-, PG@>G-, C=A>-, %G@B
Categor" Y<7 Bod" >hape or Attitude
E%he main idea is contained in the mo2er3s &a" of forming their !od" shape in relating to
the en2ironment as the" locomote4C
ADVABC-, @-%@-A%, A@D''L-, C@AAL, A@D%=-, ((Z-, =(BBL-, AD''L-,
AADDL-, PA@AD-, >%@G''L-, -B%ADB-, %AB'L-, >=AK-,
>=D##M
Com!ination Ver!s
(f course, man" locomoting 2er!s com!ine ideas from the a!o2e categories7
+*
E>pace and D"namicsC DDV-, =G@%L-, LG@C=, >C((%, >A>=AM, >A((P, :L--,
BLGBD-@, >%ALK, PLGB'-, >KD#, >%@DD-
E>pace and Bod" >hapeC L-AB, LD>%, >LD%=-@, >CG%%L-, >DDL-
E>pace and Bod" ActionC >LDD-, >%G#BL-
EBod" >hape and D"namicsC 9-@K, >LDBK, >%@G%, >%G#BL-, >C((%
EBod" Action and D"namicsC %AD@L, A=D@L, %@DP, #A@C=
E>pace, D"namics, Bod" >hapeC >B-AK, C@--P
+;
APP-BDDW C
Audio Descri!ers3 >cript for a Li2e Dance Performance EsegmentC
%o 2ie& the e,cerpt &ith description, go to7 %BD
DG>%
B" Victoria #ar$s
8):)4A. 8;/D)./:)- 3$4 D)-C4/B)4-!
This dance is structured to emplo% man% t%pes of contrasts# )5amples include<#
"isual contrasts! lightdark, warm tonescool tones, patternsfull light, one or two
dancerslarge group#
-ound contrasts! nature soundsmusic, 'uietness *serene sounds,active *agitated,
sounds#
Choreographic idea contrasts! stillnessmobilit%, passiveactive, initiatorfollower,
intensit% *seriousness,lighthearted bus%ness, isolationinteraction#
:ote that the activenesspassivit%, stillnessmobilit% of each dancer at an% given
choreographic moment is not based on who=s in a wheelchair(disabled(
or not# -ometimes the choreographer purposel% turns that around#
D->C@DP%D(B Descriptions deli2ered in real time4
+K
)
A small pool of light re2eals a &oman l"ing still, face do&n4 :rom left, a second &oman
dri2es her motoriFed &heelchair into the light4
2
>he pauses ne,t to the prone &oman, then reaches do&n to lift the &oman3s shoulder
and change her pose4
0
%he &oman in the &heelchair continues to pose the other, mo2ing one !od" part at a
time4 %he &oman on the floor mo2es onl" as she is molded, holding
each ne& shape4
R>LD'=% PAG>-S
%he mo2-er steers her &heelchair to gentl" nudge the mo2-ee onto her !ac$4
<
%he passi2e dancer on the floor is softl" pulled and pushed, her head lifted, her !ac$
lightl" touched, to !ring her to sitting4 %he &heelchair presses into her
from !ehind? she slides to a crouch, then a s8uat4 Dn stages, her partner
++
stands her up4 %he standing &oman no& turns her headHon her o&nH
to&ard the &heelchair dancer4 Light fades to !lac$4
*
Light comes up4 %he standing &oman faces a ne& dancer4 >he &ho &as passi2e is no&
the initiator4 (ne press of her forefinger against the other3s !reast!one
sets off a cascade of mo2ements4 %he first !ac$s a&a" and &atches as
the ne& dancer flails and dangles, drops to her $nees, her el!o&, then
spla"s onto her !ac$4 Lights fade out4
;
%he circle of light comes up4 A ne& dancer stands !eside the spla"ed &oman, slicing
the air &ith sharp arcing arm mo2ements4 %he spla"ed &oman lifts her
head, as the other gaFes up&ard4 Light fades to !lac$4
RPAG>-, #G>DC C=AB'->S
K
:ull stage lights up4 :rom left, a man and &oman, in time to the music, prance and dip
for&ard4 %he" are met, from right, !" a dancer motoring her &heelchair
on, dragging another &ho hangs on to its !ac$4 Bo& dancers con2erge
and scatter !usil" all o2er the stageHt&o dri2e &heelchairs, fi2e are on
foot4 'reetings, hugs, taps, re-groupings4 Dancers &a2e, !ump, tease,
+
chase, sho2e, lean, flop onto and roll or clim! o2er each other, scurr"ing
and &hiFFing pla"full" from place to place4
+
Bo&, as lights !egin to dim, the dancers spread across the stage and slo& to stillness,
pausing in ta!leau4 Lighting creates an une2en geometr" of shado&s
slashing across the floor4
Dn unison, the dancers !egin to turn slo&l" in place4 Bo& all are seen in right profile4

Bo& their !ac$s all face us4

)0
RC=D#->S
))
%he dancers continue their slo&-motion rotation4
)2
Bo& all are in left profile
)0
0
At left, suddenl" a &heelchair dancer s&eeps her arm up and circles her chair to the
right4 At this cue, a man at right spins, then reaches out to dra& her to
him4 Ahile some continue their slo&, in-place rotation, others !rea$ ran$
and repeat some of the earlier greeting, reaching, running, and pushing4
-ach al&a"s returns to a still patch of light and rejoins the ongoing group
rotation4
)<
>mall groups step for&ard, then !ac$ into place4 Bo& all pause, in ta!leau again, their
!ac$s to us4
)*
Dn unison, all loo$ o2er their right shoulder then turn to&ard us4
);
%he" are still4
)K
%he t&o at right turn a&a"4
)+
)
%he t&o at center turn a&a"4
)
%he remaining three turn a&a"4
20
>teadil", e2enl", all rotate to their left, to face the far left corner4
2)-22
A!ruptl" !rea$ing the spell, a &oman dashes from right to left, slicing through the group4
>he flings herself to the ground, then scram!les up and races !ac$ as
the others pull a&a" from her and stride off left4 >he repeats the run and
slide, left alone on stage4 %he lights ha2e !rightened and the floor pattern
disappears4 %he lone dancer runs off as others return along her same
diagonal path Efrom far left to close rightC4 %he" are tugging, sho2ing,
catching and lifting each other4 >ome push, roll and dart past others to
ad2ance along the diagonal and scatter offstage right4
20
Bo& all !ut t&o ha2e e,ited4 %he" pause, stare at each other, and one runs off right,
lea2ing the other standing alone4
2
2<
Bod" erect, she graduall" turns her !ac$ to us/
2*
/then pi2ots slo&l" on one foot then the other to complete her rotation4
2;
Bo& she loo$s at us, then &al$s for&ard, gaFing across the audience4
2K
%he light !rightens on her as she !ends for&ard, hands to her right $nee, and unfastens
her prosthetic lo&er leg4 >he sets it upright in front of her4 Dt stands alone
as she $neels !ehind4
2+
Crouching, she slides left on her $nees4
2
>he glances at us, leans for&ard to peer at the leg, reaching out slo&l" &ith her inde,
finger to po$e the leg and tip it o2er4 As she sits up, another dancer, in a
separate pool of light to the left, reaches up&ard, arching her !ac$, then
crumples to the floor, face do&n4
0
<
APP-BDDW D
Annotated audio description script for e,cerpt from the feature film 5%he Color of Paradise6
%o 2ie& the e,cerpt &ith description, go to7 http711&&&4audiodescri!e4com1samples1
A::$TAT)D AGDD( D->C@DP%D(B >C@DP% :(@ T1) C$.$4 $3 PA4AD/-)
- Cues in CAP>? descriptions preceded !" 5XX46 %ime code is noted for the start of
each description, follo&ed !" an indication of timing for the 2oicing of the
follo&ing line of description4
- Annotations are at the end of the script, $e"ed to numerals &ithin description te,t4
Bote7 %he appearance of the character 5#ohammed6 is descri!ed earlier in the film4
) 0)70)70;7)2007007)072; --7--7--7--
XX#ohammed $neels and taps his hands through the thic$ ground co2er of !ro&n E)C
XXcurled lea2es4

2 0)70)7<;7);00700700720 --7--7--7--
444RC=D@PDB'1@G>%LDB' 702S
0 0)70)7<+7);0070070<70< --7--7--7--
XXA scra&n" nestling struggles on the ground near #ohammedTs hand4
< 0)70)7*27)00700700720 --7--7--7--
444R'A>P1C=D@PDB' 702S E2C
*

* 0)70)7*<7)007007)*700 --7--7--7--
XX=is palm ho2ers a!o2e the !a!" !ird4 =e la"s his hand lightl" o2er the tin" creature4
XX>miling, #ohammed curls his fingers around the chic$ and scoops E0C
it into his XXhands4 =e stands and stro$es its nearl" featherless head
&ith a fingertip4
; 0)70270+7)200700700720 --7--7--7--
444RC=D@PDB'1@G>%L- 70)S
K 0)702707)2007007)K7) --7--7--7--
XX#ohammed starts as the !ird nips his finger4 =e taps E<C his finger on the chic$Ts
XXgaping !ea$4 =e tilts E<C his head !ac$, then drops it for&ard4
#ohammed tips E<C the XXchic$ into his front shirt poc$et4 Arapping his
legs and arms around a tree trun$,
XX#ohammed clim!s4
+ 0)70272+7)00070070)70< --7--7--7--
444R=-AVM B@-A%=DB'1CLD#BDB' 7))S
0)702707)0007007)K7) --7--7--7--
;
XX=e latches onto a tangle of thin, upper !ranches4 =is legs flail for a foothold4
XX#ohammed stretches an arm !et&een a for$ in the trun$ of the tree
and &edges in XXhis head and shoulder4 =is shoes slip on the rough
!ar$4
RBote7 %hroughout this e,cerpt, for the most part, descriptions are &ritten to !e read 5in
real time,6 i4e4, as the action !eing descri!ed occurs on screen4
=o&e2er, in man" films descriptions ma" precede the action on
occasion4 %his is a useful con2ention . it accommodates timing re8uired
in films &ith a great deal of dialogue and allo&s description users the
opportunit" to $no& 5&hat happened6 moments !efore the action occurs4S
)0 0)7027**7)) 00700700720 --7--7--7--
444R>C@APDB' 700S
)) 0)7027*+7)) 007007);70< --7--7--7--
XX=e &raps his legs around the lo&er trun$, then uses his arms to pull himself higher4
XX=e rises into thic$er foliage and holds onto tangles of smaller
!ranches4 'aining his XXfooting, #ohammed stands upright and coc$s
his head to one side4
)2 0)7007)07200070070)70< --7--7--7--
444RC=D@PDB'1:LG%%-@S
K
)0 0)7007)+7)*007007)07)* --7--7--7--
XXAn adult !ird flies from a near!" !ranch4 E*C #ohammed e,tends an open hand4 =e
XXtouches a !ranch and runs his fingers o2er &ide, green lea2es4
)< 0)70072K7)) 00700700720 --7--7--7--
444R@G>%LDB' 700S
)* 0)7007007)) 007007)<70+ --7--7--7--
XX=e pats his hand do&n the length of the !ranch4 =is fingers trace the smooth !ar$ of
XXthe upper !ranches, search the net&or$ of connecting tree lim!s, and
disco2er their XXjoints4
); 0)7007<072000700700720 --7--7--7--
444R@G>%L- 702S
)K 0)7007<*7200070070*70; 0)7007*072;
XXA!o2e his head, #ohammedTs fingers find a dense mass of &o2en t&igs--a !irdTs
XXnest4
)+ 0)7007*072;00700700720 --7--7--7--
444RC=D@PDB' 700S
+
) 0)7007*072;0070070K7)* --7--7--7--
XX>miling, he remo2es the chic$ from his shirt poc$et and drops it gentl" into the nest
XX!eside another fledgling4
20 0)70<70)70000700700720 --7--7--7--
444RC=D@PDB' 700S
2) 0)70<70070<007007)070< --7--7--7--
XX=e ru!s the top of the chic$Ts head &ith his inde, E;C finger4 #ohammed &iggles his
XXfinger li$e a &orm EKC and taps a chic$Ts open !ea$4 >miling, he slo&l" lo&ers his
XXhand4
B(%->
) . Color has !een sho&n to !e important to people &ith lo& 2ision, e2en people &ho
are congenitall" !lind4
2 . %iming is critical in the crafting of description4 Ae &ea2e descripti2e language
around a film3s sound elements
0 . Vi2id 2er!s help conjure images in the mind3s e"e4

< . Description, li$e much poetr", is &ritten to !e heard4 Alliteration adds 2ariet" and
helps to maintain interest4
* . Ahat to includeI %his image is important . the adult !ird returns in the ne,t scene4
; . Be specific-- precision creates imagesN
K . >imiles paint picturesN
)00
APP-BDDW -
-8uipment pro2iders E5li2e6 descriptionC7
Ailliams >ound, -den Prairie, #B? +00 +<0-0*<<? www.williamssound.com4
Phonic -ar, Petaluma, CA? +00 22K-0K0*? www.0honicear.com4
%ele,, #inneapolis, #B? ;)2 ++K-***0? www.tele3.com4
#artel -lectronics, Placentia, CA? K)< *K2-0)00? www.martelelectronics.com4
)0)
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A
ACB ;
Access %heater <<, =>, ?@
Ad2er!s1'erunds A<
A-B ;B, =C
Alternati2e %oucha!le #aterials =D
American :oundation for the Blind C
Anni!ale Carracci =?
aria ;@
Art Con2entions ==
Art -ducation for the Blind ;, =, ;B
art!e"ondsight ;B
audience AA
Audio Description Project A, ;
Audio 'uides ;>, =<
Audio-descri!ed >elf-guided %ours =<
A,is Dance Compan" <B
B
!lind ?, C, D, B, >, <;, <=, <?, ;B, ;>, =@, =A, =<, =;, =D, =B, CD
C
Censorship A;
)02
Characters 1 People B
choreograph" <?, <C
Classroom Lessons 1 Literac" ;>
concealed triggering mechanisms =<
congenitall" !lind ?, B
Consistenc" ;?
Consonance A=
D
Definite1Dndefinite Articles A<
Dialogue ;=
digital &ands =<
DigitiFed =istorical Dmages =D
Dust <, <B, =>
D"D D, ;;, ;C
E
-ducator or Docent-Led %ours =@
-nhanced Description ;D
-8uipment AB
-
:# AB, <>, =;
foreshadowing ;;
:rederic$a :oster >hapiro =?
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G
'eneral to the >pecific ==
going from the general to the specific B
.
=ailstones and =ali!ut Bones >
=air1Build1Clothing B
I
Ddentification <@, ;=
inclusion of directional information >
infrared =;
D%C =, B, A@
'
9argon ;C
9oe Clar$ =, ?, A@
9oel >n"der <, ;, =
L
La!an <;, <=, =>, ?C
La!an #o2ement Anal"sis <;, <=, =>
La!els A;
Less Ds #ore A@
li!retto <>, ;@, ;A
L#A <, <;
Logos 1 Credits ;C
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6aking "isual Art Accessible to People 2ho Are Blind and "isuall% /mpaired =, ;B
#ar$ %&ain A
#etaphor1>imile A;
#ultisensor" Boo$s =@
#useum of #odern Art =D
#useum %ours ;B
#usicals <D
O
(!jecti2it" A<
P
Pa!lo Picasso =C
Passage of %ime ;?
Paul Valer" <C
Paula 'erson =C
Point of Vie& AA, ;C
Point of Vie& and Barrati2e %ense AA
Pre->ho& and Dntermission Botes AB
Pre-sho& notes ;A, ;<
Prints and Communication <D
Pronouns A<
Pronunciation A=, ;<
)0*
R
@elationship B
@udolph La!an <;
S
>cene Changes ;=
>cheduling of Description AD
>cript AD, ?@, ?>
sit7probe ;A
>ounds <<
>tepping (n Lines <@
>torm @eading <, <<, =>, ?@
st"le AA, AC, AB, <C, ==
surtitles <>, ;@
T
%actile Dllustrations =D
The 6aster% of 6ovement <;, <=
%he score <C
%ime of da" A@
%iming <A, CD
%ouch <D, =D
touring productions AB
U
use of color B
)0;
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Ver!al description ;B, ;>, =@
Victoria #ar$s <B, =>, ?>
V(DCDB' A;
W
A4M4>4D4A4M4>4 >
Ailliam #4 D2ins <D
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