Cindy: In regards to the previous question, what skills do you feel an Interpreter must have or obtain to become a theatre Interpreter?
Dan: It really pays to be both an interpreter and an actor. The problem is that some interpreters get so caught up in the excitement and the acting part, that they forget their place, and overstep their bounds. At the same time, interpreters with a good range of skills can expand the function of interpreters on stage. Strong interpreting skills are a must. Language is so critical. So, first of all, having a lot of English skills, a lot of ASL skills, and a lot of skills going back and forth are critical. Also, acting skills help the interpreter take on the physical characteristics and tenor of the characters they're interpreting. A sense of rhythm is important -- dance skills are even better.
Then there are all of the other things that go along with being on stage: theatre terminology, movement, make-up, etc.
On top of all of that, the interpreter must often be an educator to the theatre staff. But, then again, aren't we ALWAYS in this mode?
Cindy: Do you interpret music as well?
Dan: You know I used to be so against interpreting music. Of course, there are interpreters who are WONDERFUL at presenting both the musical and lyrical aspects of music. I'm mellowing out on the subject a little now, and figure it's up to the Deaf community to say what they do and don't want. Now, it's an altogether different situation when music is part of a show. I love the challenge of trying to make a musical - particularly a sung-through musical like RENT or Phantom - as interesting to the Deaf patron as the hearing patron. I think doing musicals let's me get away with interpreting music, without feeling like I'm falling into that trap of becoming one of the those interpreters from the 70's who used to walk around interpreting "Day By Day" (from Godspell) all the time :-)
Cindy: Do you feel that interpreting a play, concert or a musical requires different skills?
Dan: Having some understanding of ASL poetry and "sign play" really helps. Lyrics differ from spoken sentences in that part of their charm is the interesting way they're constructed -- through rhythm and interesting clusters. The rhythm of the orchestration adds an entirely different layer. An interpreter who can try to capture all of that is a real asset. I think a keen understanding of the goals of a song, as well as musical timing and dance and movements really are essential.
