Sibrwd

Translation, Translation, Translation

Theatr Genedlaethol — Tue, 21 Oct 2014 15:52:25 +0000

If you enjoy theatre and languages you may, like me, get excited when you’re asked to be involved with the Theatre Festival for European Minority Languages. Saying that, as you may expect, dealing with translating minority languages can be a bit tricky.

Theatr Genedlaethol Cymru was invited to take a 15 minute performance to the festival in Bautzen, Germany. Pridd, a one man production by Aled Jones Williams (performed originally by the company in 2013) was the perfect choice and this was the perfect opportunity to use Sibrwd to open up the performance to an European audience at the festival and have further feedback to the app. The first stage, therefore, was to choose an extract from the play and make it ‘Sibrwd friendly’ (a creative synopsis). This involved a Welsh/ English speaker creating a synopsis in English. Then (and here comes the tricky part), we needed to find someone who could translate the English in to German and finally someone to translate the German into Sorbian (a minority language from eastern Germany). And then of course, actors to record the voice overs.

Pridd is rooted in Wales, and generally would be best understood by Welsh audiences – not to mention the fact that it also jumps from Welsh to English within a scene – we therefore needed to find people who understood the Welsh context of the play and convey this to an European audience. This was extremely tricky and we tried all but giving up. But, as often happens in minority cultures, you mention such a dilemma to a colleague and all it takes is a phone call to find someone who knows someone who speaks Welsh, English, German and Sorbian!

The next step then is to record the synopses, rehearse the piece and fly off to the festival in Germany to show the world what Sibrwd can do!

Trying Sibrwd: first time trialling the app

Theatr Genedlaethol — Mon, 06 Oct 2014 13:31:51 +0000

After months of developing the technology, creating the content, and setting it around the stage production, I had the chance to trial the Sibrwd app during the tour of Y Negesydd in May this year. Following an open invitation, four groups of individuals were selected to trial Sibrwd at four live performances of Caryl Lewis’s new play.
Simply put, the purpose of Sibrwd is to allow people who are not fluent in Welsh to enjoy theatre in Welsh. So far, surtitles and synopsis cards have been used but there are disadvantages to both: for example, surtitles can disrupt the experience of those who understand Welsh and synopsis cards can disrupt the plot. Through an app on a mobile phone, Sibrwd provides a quiet summary in English of what is happening in the English dialogue without disturbing the experience of anyone in the audience.
So, does Sibrwd work? Did the four groups have a satisfactory theatrical experience? Did the device do the job?
Group 1 were advanced learners – that could speak Welsh well enough to be able to discuss the app in a Welsh language focus group. Groups 2 and 3 were also learning Welsh, but on a lower level, and Group 4 were non-Welsh speakers.
The response from all groups was that the device worked for them, and to their specific knowledge of Welsh. An interesting discovery considering that the levels of the four groups were different. Therefore, one stream suited everyone. Secondly, some people were using the text stream though a voice stream is the main concept behind Sibrwd. The text stream was especially useful for one who was slightly hard of hearing. This was a new factor for us as a research team as well as the development team; therefore there is further use again for the device.
Though the voice (and text) were recorded beforehand, the cues were live. The groups’ response to the timing was that there should be enough Sibrwd stream at the beginning, in order to for people to have faith in the technology. It was also important that the Sibrwd feed didn’t interrupt dramatic and quiet moments on stage. And interestingly, there wasn’t a clear opinion whether the English Sibrwd should come before or after the dialogue in Welsh.
I had never seen five performances of the same production before, and in four different locations. It was an eye opener to see different audiences’ reactions to a piece of theatre. One very striking thing with Y Negesydd was at what points in the play the audiences laughed. For example, there was more laughter in Felinfach (where the play is set) that at Galeri Caernarfon.
Some Sibrwd users said that the audience had laughed in some places where the joke had not come across in Sibrwd. This will be a challenge therefore as Sibrwd is developed, considering the varying reactions from audiences to a live performance, especially regarding humour.
One other thing that didn’t occur exactly as we predicted. Considering the emphasis put on North Wales Welsh and South Wales Welsh in the world of Welsh for Adults, not one member of the learner groups commented on the dialect of this particular play. The depth of the Ceredigion language didn’t faze them at all; it was ‘It’s all Welsh to me’ on the whole. Is there a lesson here?
For the learners too, going to the theatre with Sibrwd like a ‘friend in your pocket’ or ‘safety net’ worked for them, but going with their class was a way of opening a door to new experiences. Walking in to a theatre – where you can’t use the ‘off’ switch or walk away – was more comfortable in the company of the class. Theatre is a social activity in its essence, isn’t it?
The next stage of trials will happen as part of Dyled Eileen at the Eisteddfod. This time, the context and direction of the drama will be an interesting thing to explore.
Whilst the technology is tested over the coming months, the big question then will be, how to change a culture so that people who are less fluent in Welsh, or non-Welsh speakers, can access Welsh language theatre. Theatre companies, theatres and Welsh venues will have to seriously consider how their marketing strategies can transfer the message to this new audience, that the technology is now available, to open up Welsh theatre to anyone.

Communication, Communication, Communication

Theatr Genedlaethol — Mon, 06 Oct 2014 08:57:36 +0000

Sometimes an idea is so simple it’s hard to believe no one else has thought of it. And sometimes when you are at the centre of something it’s hard to know where to start explaining to those on the outside. This is how I feel about Sibrwd at the minute. But I guess the beauty of successful marketing is to convey brand new ideas in a clear and cool way. I’m still laughing about the article in Saturdays Guardian magazine that said a lady in the 1970′s served her newly bought avocado ‘pears’ with custard for pudding! M & S changed the whole branding following her complaint letter.

This is where we are at the minute, discussing business plans, branding, advertising, website development and how exactly to communicate how brilliant Sibrwd is. Wish us luck!!

Geekery

Derick Murdoch — Mon, 10 Feb 2014 14:31:15 +0000

It’s been a little like a geek’s Christmas for a few days at Galactig!

First of all our Ruckus kit arrived. We don’t intend to take any chances with network connection issues with the Sibrwd app so we’ve scoped out a solution using smart wifi technology from Ruckus. From the earliest stages of specification we realised that we shouldn’t rely on patchy wifi connections in theatres or other spaces. It’s also not unusual for there to be no wifi available.

Each production using Sibrwd will benefit from 2 ZoneFlex wireless access points hooked up to a ZoneDirector to create a SmartMesh WLAN. This will ensure robust connectivity for all of Theatr Gen’s needs. An additional outdoor access point provides opportunities for supporting site-specific drama – but which can also be added indoors to add more concurrent users or provide coverage in large spaces.

A box full of iPod Touches also arrived to be loaded up with development ad-hoc builds of the app to be provided to audience members for testing at various productions over the coming months.

As we continue to setup and test the new kit, we’ll provide more updates on the blog.

Sibrwd Day – Y Llwyfan

Carys Ifan — Wed, 18 Dec 2013 11:48:13 +0000

I felt that it was time that Galactig and Theatr Gen’s whole team met up to discuss the project, therefore, Sibrwd day was arranged at Y Llwyfan. Colleagues had heard about the project, but, it was necessary to discuss how Sibrwd would be executed.

In addition to Theatr Gen staff, we also invited Dyfan Jones, the experienced Composer and Sound Designer who designed the sound on our Blodeuwedd production. This discussion was very important because Galactig the digital platform manufacturers and we as successful theatre producers, but, it was necessary to understand each other’s media requirements.

Whilst one team discussed the technology, another team and I discussed how to create and administrate the focus groups as we trial the platform. Our research partner, Elin Haf Gruffydd Jones, from Aberystwyth University who unfortunately wasn’t able to be present, will be assisting us with the focus groups. We also discussed the marketing process – this blog being one!

Although this day was essential, it was also quite a challenge for all. Sometimes it is necessary for the project to evolve with everyone suggesting ideas and comments before returning to the root of the project. It was valuable to have everyone’s input, but, it should be reminded that our funding is towards research and development. We do not have to present a finished platform at the end of the stage, although that is what we hope. To NESTA and the other funders, the research stage itself is of utmost interest. The root of Sibrwd, especially during the research stage is to discover a successful way, cost effective which coincides with the artistic vision of enabling access to learners and non-Welsh speakers to Theatr Gen’s work.

This project is very exciting, and the next stage for me is to agree with Elin Haf what exactly the research plan entails and put the paperwork in place.

The Application and First Steps

Carys Ifan — Tue, 08 Oct 2013 11:45:22 +0000

When I arrived back from my holiday in September, Arwel and Lowri had been discussing the idea further with Galactig and things were moving forward at a fast pace. Following on from Skype meeting, Derick created a clear document outlining the possibilities of the platform and Arwel thought of the name ‘Sibrwd’. I went on to research the objectives and aims of NESTA, the Welsh Arts Council and the Arts and Humanities Research Council, who fund the grant, so that we could transfer what we knew about the three into the answers on the application form. Our idea was so simple that it was hard to believe that no-one else had already thought of this. The last thing we wanted was that our innovative idea was already done! Rob Ashelford mentioned that National Theatre of Scotland had a similar project which involved access to the arts, but for people who are disabled not regarding the language. Working with others who were already doing similar projects to learn from them would be seen as a strength when filling out the application. So we decided that we’d work as much as possible with NTS, to learn from them and share experiences. So we decided to carry on and start the application! After a full week of writing and re-writing, we sent the applications with a few minutes to spare and waited for an answer. We discussed that if we weren’t successful then we’d try again in January and look for other funds. Sibrwd was too good and idea to leave it alone.

At the end of September we learnt that we’d reached the shortlist and were invited to an interview. I received the email whilst on a course in Chapter and I nearly shouted out in the middle of someone’s talk! I sent everyone and email, and phoned Mam of course. We spent a whole day preparing for the interview in Y Llwyfan, discussing who would present which part of the 10 minute presentation and how we’d do it. The interview went really well and we found out the next day that we were successful, yay! Keeping everything quiet until we were allowed to announce it was a bit of a challenge, we just wanted to start the work and SHOUT about Sibrwd!

National Eisteddfod, August 2013

Carys Ifan — Fri, 30 Aug 2013 11:40:19 +0000

During July, we received an email about a new fund for digital research ideas, to develop audience or for business purposes. We bounced ideas around the Theatr Gen office but couldn’t decide what the best option would be to develop further. We decided to meet with possible digital partners at the Eisteddfod. During a very sunny afternoon in the Eisteddfod in Denbigh, Arwel Lowri and myself met Rob Ashelford – the Programme Manager for the Digital Research and Development Fund for the Arts in Wales – so we could learn more about the fund and how we should go about applying. It was clear to me after the meeting that the idea needed to be innovative to be in for a chance.
One of the companies that we’d arranged to meet during the week was Galactig. It had turned quite cold on the Eisteddfod Maes by now, so swapped the ice cream outside for a coffee inside and we had a great meeting. Although I’m familiar with Anest and Derick of Galactig company, and their work – they developed ein-tir.com for S4C which was a television version of our production, Tir Sir Gar – we had a chat to introduce our work to each other. During the chat, Derick mentioned his experience of the audience of Tir Sir Gar. Derick is from Scotland and is learning Welsh, and although he used the cards which has and English synopsis of the scenes in the production, he explained that recording the actors’ voices would be a better idea. The non-welsh speakers could listen to the translation using their phones.

Arwel explained that Welsh learners and non-welsh speakers had access to Blodeuwedd by listening to a synopsis recorded by the actors on specific times during the performance, but that production was unique as the whole audience listened to the dialogue on their headphones. Derick mentioned that this would be possible by creating an app and downloading it to the phone. The conversation picked up and we all started to get really excited realising we were on to something good… but then of course, the meeting had to come to an end as we all had various events, performances and meetings we had to be at! It was the Eisteddfod after all!

That afternoon, Arwel, Lowri and I discussed over a paned what the next steps were to complete the application. Time was against us. It was the beginning of August, most of us had arranged a holiday or were going to the Edinburgh Fringe Festival, and we had to complete the application by September. We were sure that the idea we discussed with Galactig was the right idea for the fund. We didn’t feel that other ideas we had were innovative enough, or using the latest technology and developing audience. So we were decided – this would be our innovative idea!