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January 2000 University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2000 Live interpretation: an asset, or an indulgence? In the fields of education and entertainment, how valuable is live interpretation as an effective tool of communication? STEVENS, DAWN HELEN http://hdl.handle.net/10026.1/2313 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Live interpretation: an asset, or an indulgence? In the fields of education and entertainment, how valuable is live interpretation as an effective tool of communication? By DAWN HELEN STEVENS A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Cultural Interpretation Faculty of Arts and Education JANUARY 2000 2 l;JiiiversitY, ,of. Plymou~h; Library 'I '' ~: ~·~ I' t . Dawn Helen Stevens. Live interpretation: an asset, or an indulgence? In the fields of education and entertainment, how valuable is live interpretation as an effective tool of communication? This thesis aims to assess the value of live interpretation as a tool of communication, by treating it as a form of design, and by comparing examples of practice in the field with other contemporary design techniques. Chapter two lists a selection of active practitioners across the field of informal and formal education, and entertainment within the area of Britain's cultural heritage. It provides a taste of the professional industry, and includes information like how many interpreters are employed, what techniques they favour, and what educational programmes they run. Likewise in the voluntary /hobbyist sector, the chapter notes membership numbers, public activities, and training facilities. Chapter three establishes the communication model against which the technique can be assessed. Chapter four concentrates on the practical value of the technique as a tool of communication, assessing its ability to adapt to visitor needs, to establish a communication channel, remain focused, to develop and to cope with visitor orientation. It also questions its practical and mental durability. Chapter five looks at motivation and links the public popularity, both as consumers and practitioners, of live interpretation with the growth of the movement towards 'bottom up' history, which the author phrases as, 'history for the people, about the people, by the people.' One of the main problems governing the quality of practice in the field stems from the uneasy relationship of the two parents of live interpretation: education and entertainment. Both of these areas run as themes throughout the work. Chapter six raises the question of the power invested in interpreters, what it means, where it comes from, and how its subsequent responsibilities are being met. The conclusion asks why should improvements be made, and what sectors are in greatest need of improvement. It includes a suggested agenda for a code of practice for the future. 3 List of Contents Copyright statement Title page Abstract List of contents List of illustrations Acknowledgment Author's declaration Introduction A) Personal Context B) Intellectual Context 1) Man's relationship with the past 2) The relationship of the past to the present 3) Historical development of live interpretation 4) Live interpretation as a tool for communication 5) Power and responsibility 6) Live interpretation's relationship and integration with the academic world 7) The Entertainment factor 8) Live interpretation as an educational tool 9) Selectivity 10) Sanitisation 11) Evaluation 12) Training 13) Guidelines for use 14) Do it Yourself Guides 15) Academic Critique of the Heritage Industry- Book Publications a) Book Publications b) Heritage Journals and Bulletins 16) News Papers and Magazines 17) Dissertations and Theses 4 18} Re-enactment Society Magazines and Newsletters C) Methodologies 1) Live Observation- Interpreters 2) Live Observation- Visitors 3} Live Observation as an Interpreter 4) Extended group interviews 5) Questionnaires D) Glossary Chapter Two Active Participants in Live Historical Interpretation in Britain Today A) Structure B) Entry Data C) Formal Education 1) Museum Guides/Education Services 2} Open-Air Museums Guides /Education Services 3) Historic Property Guides/Education Services 4) Itinerant Character Interpreters 5) Living History (Social History) Groups D) Informal Education 1} Museum Guides/Education Services 2) Open-air museums guides/education services 3) Historic property guides/education services 4) Town tour guides 5) Itinerant Character Interpreters 6) Military re-enactment societies 7) Historical arts and entertainment groups E) Entertainment 1} Pageants and fairs 2) Historically-themed catering businesses (medieval banquets) 5 Chapter Three The Communication Model A) The Basic Communication Model B) The Encoder Chapter Four How Effective is Live Interpretation as a Tool of Communication? A) Flexibility of Visitor Assessment B) Adapting to visitor needs 1) Is interpretation needed? a) Visitors who want to be left alone b) Visitors who want time to adjust c) Bringing a piece of interpretation to a conclusion d) Confliction of interests on a working site 2) Establishing a common language a) Breaking down cultural language barriers b) Languages of the past c) Interpreting for people with partial or no sight d) Interpreting for people with partial or no hearing e) Intellectual and psychological barriers 3) Establishing a common ground a) Visitors with other interests b) 'Shared' experiences c) Exchange of information d) Interpreting for crowds e) Specialist groups C) Durability D) Remaining focused E) Programme development F) Orientation 6 Chapter five Motivation A) Why do people interpret the past? B) The Origins of Conflict and a Question of Power C) Why is motivation important? Chapter Six Power and Responsibility A) The source and nature of the power B) The nature of the responsibilities C) A proposal D) Recognising the power and accepting the responsibilities 1) Non recognition 2) Recognition and acceptance, by degrees a)The academics b) The new initiates c) A confliction of interests d) Misconceptions of responsibility E) Subject selection and interpretation 1) Warfare 2) Social and Domestic Violence 3) Death and Disease F) The responsibility of honesty 1) The truth about interpretation 2) Visitor orientation Conclusion A) A new demand for historical interpretation B) Why should improvements be made? C) What is needed to improve historical interpretation and understanding 1) Who needs to improve? 7 2) Communication 3) More widespread quality training a) Training the hobbyist b) Training the public 4) A code of practice D) Entertainment Appendices Appendix one. Sample from the questionnaire for Kentwell participants. Appendix two. Sample from the questionnaire for the Sealed Knot. Appendix three. Sample from the questionnaire for the History Re- enactment Workshop. Appendix four. Personal experience of live interpretation within the industry. 8 List of Illustrations All photographs in this thesis have been taken by the author, unless otherwise stated. Fig. 1 Diccon the carpenter at Kentwell Hall. Fig. 2 Acton Scott Historic Working Farm Fig. 3 Hautbois: more than just good music. (Photograph by kind permission of English Heritage) Fig. 4 Medieval street theatre with Extra Bodies. Fig. 5 Once a major exhibition is in place, it becomes inflexible. Natural History Museum. Fig. 6 Being aware of visitor's body language is essential. Kentwell Hall. Fig. 7 A hands-on experience for school children, and Ian Skipper at Castle Cornet, Guernsey. Echoes from the Past. Fig. 8 A monologue in first-person with modern questions after. Keith Beckford with Echoes from the Past. (Photograph courtesy of Echoes from the Past) Fig. 9 Bite-size pieces of information can be explored later in books etc. Fig. 10 Will Wagstaff adapting to a multi-need group. Fig. 11 Durable models at Tonbridge. Fig. 12 Can the author talk with the visitors and get the dinner on the table on time? (Photograph courtesy of HRW) Fig. 13 Trying on costume gets children excited, so the interpreter must remain focused on the message. Huddle Lane Middle School, Exeter. Fig. 14 Alex Henderson introducing the language of architecture in a way the children understand. Exeter Cathedral education department. Fig. 15 The wheelwright at Acton Scott preserving traditional crafts. Fig. 16 History for the people. Gerry Burrows and an assistant from the crowd make rope at the Exeter Medieval Lammas Fayre. Fig. 17 Placing the emphasis on the visitor experience. History Re- 9 enacatment Workshop at the Weald and Downland Museum. Fig. 18 Whether to fight at 'push' or 'point' is a recurring debate on the letters page of the Orders of the Daye. Fig. 19 Too close for comfort? Even battle re-enactment interpreting wars in living memory are popular. (Photograph with kind permission of English Heritage.) Fig. 20 The Ermine Street Guard favour demonstrations to battle re­ enactment. (Photograph with kind permission of English Heritage.) Fig. 21 Interpreting social issues close to home in an historic context. The 'hags' at Kentwell Hall have faced strong reactions
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