making people listen
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Lend me your eyes so my ears can see
Audio description or AD is the oral narrative system used in film, and during certain live events such as theatre performances and sporting competitions, to compensate for the absence of images for the visually deficient. ADs of screenworks are pre-recorded, but for live events the description is spoken by the describer simultaneously with the event. In this post, beginning from the origins of AD, we'll visit the various stages involved in creating the audio description for a screen fiction by which an audio describer works to make the visual become verbal.
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The story of a speech disorchestrated
The prospect of speaking in public leaves nobody indifferent. There's no such thing as a perfect speech, we all know that. But we also know that accepting to stand up and speak means that anything can happen - for better or for worse. It makes you think, doesn't it? After all, our voice is us, it's our identity. For all these reasons, I have chosen to write about a recent experience I had speaking in public in front of quite a large audience where I completely lost my thread. For a brief instant I stammered, I stuttered and I spluttered. But I survived and, above all, I decided to take…
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Why hearing your own voice is like looking at a selfie
If you don't like the sound of your own voice on a recording, that's because it's not the voice you hear when you speak. This article invites you to think of it as an audio-selfie : you can spend as long as you like wondering who is in a photo you've just taken of yourself which doesn't look right, it's definitely you. Time to take a listen in the mirror for a closer look at your voice.
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Words tripping off the tongue
Panicky about speaking in public or for an exam? If not, you probably know somebody who is. If you teach, ask people you have in class why public speaking, or simply oral expression, is so difficult for them. I did. They didn't mention fluency or accuracy. They said : "I don't like my voice." They said : "I am afraid of speaking in public." How can we use comments like these to create new teaching options? Let's help learners find a new connection with oral expression.
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The Case of the Disappearing Case
I'm through Customs and Passports and on my way to my final destination. I've already walked out of the lift when I realize I’ve left my suitcase behind. I turn round to get it but the lift doors have already closed and the lift has gone. I freeze as the emptiness sets in. The lift has gone, my bag in it. I'm bagless and liftless. Where has it gone I wonder? Where have they both gone?
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Look and say
I learnt to read at school. At first, that meant reading out loud while somebody listened. It was a public experience. This oralizing from words on a page felt strange but exciting, as if something was passing through me from the page to the sounds I uttered. It was like being part of something new. Although the ultimate goal would be to read silently, Mr Harding, a primary school teacher, reminded us that we could still sometimes break that rule.
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The Card Sharp
When telling a story, it is essential to create an audience who feel compelled to pay attention. In exploring the theme of The Oral Tradition recently, certain memories have popped up which show how instructive everyday situations can be in developing an understanding of how this tradition works. Here's a memory of a card-sharp (or card-shark, if you prefer) from when I was 7 or 8 years old.
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Benjamin Zephaniah, outspoken word artist
Benjamin Zepahaniah, British Carribean dub poet, actor, recipient of no fewer than 16 honorary doctorates, professor of poetry and creative writing, left us yesterday. Already gone, but his work lives on. He encouraged people to read and he made people listen. Here's one of his poems, Talking Turkeys, ready for use in the Subjective Classroom. Bon appétit!
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John Trudell – a voice to be reckoned with
I first noticed John Trudell in 1992, the year he released a CD called AKA Grafitti Man. It was the wind and fury of "Rockin the Res", heard on the radio, that stopped me in my tracks. His was a voice : almost conversational but somehow assertive. He seemed to be talking about life as he experienced it, but also something wider. And wilder. The tension and poetry made you sit up and listen, and the music made you want to dance even if you didn't know how. Want to know more? Discover John Trudell here.
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Smoke Signals in the classroom
Storytelling in the language classroom is a powerful tool. But what happens if nobody wants to listen? Or if, at least, that's how it feels? The problem is often not with the story. It's about the smoke signal you're sending out : people can't see the signal, all they can see is the smoke. Here are some ways to change that.
