The Use of Supertitles by American Opera Companies
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Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1991 The seU of Supertitles by American Opera Companies. Christina Margaret Alves Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Alves, Christina Margaret, "The sU e of Supertitles by American Opera Companies." (1991). LSU Historical Dissertations and Theses. 5161. https://digitalcommons.lsu.edu/gradschool_disstheses/5161 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. 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Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE USE OF SUPERTITLES BY AMERICAN OPERA COMPANIES A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Christina Margaret Alves B.M.E., Arkansas State University, 1984 M.M., Louisiana State University, 1986 August 1991 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS I wish to thank Dr. Jane Cassidy (Co-Chairman), Professor Robert Grayson (Co-Chairman), and Dr. Griffin Campbell for their guidance in writing this monograph. I am also grateful to Martina Arroyo, Patricia O'Neill, and Kimberly Arp for their service on my com m ittee. Additionally, I wish to thank Dr. and Mrs. Lynn Willett for their survey assistance and the following for providing valuable information about supertitles: Canadian Opera, New York City Opera, Washington Opera, San Francisco Opera, Lyric Opera of Chicago, Baton Rouge Opera, New Orleans Opera, Metropolitan Opera, Houston Grand Opera, Baltimore Opera, Opera America, Anton Coppola, Dr. David Culbert, Mr. and Mrs. Mark Weinstien, Four Comers Productions, The General Electric Company, Optical Radiation Corporation, General Paramedics, Inc., Communication Technologies, Inc., Hans Garnets International, Adirondack Scenic, Inc., Audio- Visual Laboratories, Patrick Sheehan and the staff of the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress. I appreciate the love and encouragement of my family and friends, especially my parents, Edward and Christine Seavey. I am especially grateful to my husband Thomas for his constant support throughout this research. ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission TABLE OF CONTENTS PAGE ACKNOWLEDGEMENTS................................................................................ii TABLE OF CONTENTS....................................................................................iii LIST OF FIGURES........................................................................................... v ABSTRACT...................................................................................................... vi INTRODUCTION.............................................................................................. vii CHAPTER 1 - HISTORICAL ASPECTS OF SUPERTITLES..................... 1 Subtitles in Silent Film ............................................................. 1 Subtitles in Sound Film 1 0 Supertitles in Opera 1 1 CHAPTER 2 -TECHNOLOGY OF SUPERTITLES 2 2 The Titling Process 2 2 The Equipment 3 2 Practical Application 4 8 CHAPTER 3 - PREFERENCE FOR SUPERTITLES 5 5 Controversy 5 5 Survey Reports 6 6 CHAPTER 4 - RECOMMENDATIONS AND DISCUSSION 7 5 BIBLIOGRAPHY 8 7 iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDICES 94 Appendix A.................................................................................94 Appendix B................................................................................. 97 Appendix C............................................................................... 9 9 Appendix D............................................................................... 106 VITA................................................................................................................. 112 iv Reproduced with permission of the copyrightowner. Further reproduction prohibited without permission. LIST OF FIGURES PAGE FIGURE 1 slide projector diagram 4 2 FIGURE 2 video projector diagram (Talaria) 4 2 FIGURE 3 slide projection equipment and rental 5 0 FIGURE 4 video projecion equipment and rental 5 2 FIGURE 5 BRO supertitles survey 7 1 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT The main purpose of this monograph was to examine the use of supertitles in foreign language opera by American opera companies. Supertitles are the translation of an opera's text projected simultaneously above the stage during an opera performance. The use of supertitles is one of the most controversial issues in the opera world. Although the primary purpose is to enable the audience to understand a foreign text, there is an ongoing controversy over whether supertitles enhance an opera performance or detract from it. Many opera companies are using supertitles, but there are still those who have not made the investment in equipment or personnel necessary to accomplish this relatively new aspect of opera performance. This research project included the tracing of supertitles from subtitles of silent film to present-day opera, an explanation of the technology involved in supertitle production, an in-depth documentation of the controversial issue of supertitles, and the presentation of data from an original and two previously conducted surveys regarding audience opinion of supertitles. Following these discussions, general recommendations were made on the basis of budget, equipment, and personnel available to various opera companies. Additionally, future technology and other issues related to supertitles were addressed. This research has been compiled as a service to opera companies using supertitles, to those companies who are considering the use of supertitles, and to those audience members curious about the origin and production of supertitles. vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION The use of supertitles is one of the most controversial issues in the opera world, particularly in the United States. The primary purpose of supertitles is to enable the audience to understand a foreign text, yet there is a ongoing controversy over whether supertitles enhance an opera performance or detract from it. One thing is certain: supertitles have become a popular topic among operagoers. Many opera companies are using supertitles, but there are still those who have not made the investment in equipment or personnel necessary to accomplish this relatively new aspect of opera performance. The main purpose of this monograph was to examine the use of supertitles in foreign language opera by American opera companies. This was accomplished by tracing the background of supertitles from subtitles of silent film to present-day opera, discussing the technology