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Samantha Terzis CI/CT
TOPICS
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GLOSSING (online content)
GRAMMAR MISTAKES: Interpreters make gazillions of grammar mistakes. We are going to tackle mistakes that most interpreters don't even realize they are making but happen daily!
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TIPS TRICKS and TABOOS (live content)
We want you to be your best so we are going to run through a slew of information at lightning speed, info which will make interpreting for live performances far more successful, manageable, safe, and impactful.
REMEMBERING YOUR CONSUMERS (live content)
Who are your consumers and how do you serve them? Are they big D Deaf, little d deaf, oral Deaf, simcommers, foreign Deaf, high language, low language, no language consumers? How does THAT Deaf audience member prefer to receive the message? Is their preference working for them? What do you do when you don't know? There are a lot of things to consider. We will discuss them here.
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GLOSSING (live content)
GLOSSING PHILOSOPHIES: What are the theories of glossing, and which do you choose?
CREATIVE GLOSSING: Want to gussy up those translations? We can give you some great ideas on how to do that!
GENRE/INTENT BASED GLOSSING: The way lyrics are translated is hugely HUGELY based on musical genre. Most interpreters forget the intent of the writers, the goals of the performers, the age of the characters, the character's mastery of language, or the genre of the music they are translating. IT ALL MATTERS! We are going to dive into those tidbits and start to get your juices flowing in ways you likely didn't expect.
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PANTOMIME / CONSTRUCTED ACTION (live content)
When you pick up the baby Jesus during your Christmas songs, do you ever put him down again? Dropping a baby on his head mid song is called child abuse. When you pick up that beer in a bar in your country song, do you ever lay it back down? Do you have any concept of how effective your visual mapping is when you interpret music? If it's off, your letter gets written with the pen poking through the paper, or when you throw away that letter you miss the trash can you had set up, or when you hug the one you love you crush them in your arms. The fact is Deaf people are much better at seeing the visual oopses we produce, so in this section we will work on not producing those infamous oopses made by most interpreters.
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COMEDY (live content)
How do you deliver a punch line in sign language... appropriately? How do you communicate comedic elements of performances? It's tougher than you think. In this section will address one of the toughest jobs you can interpret... comedy!
DISNEY 101 (live content)
How do you maintain Disney characters? How do you move like a lion, or a mermaid, or and ice queen. We are going to take some time to tackle some of the most well known performances in history... Disney!
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MUSICAL THEATRE (live content)
People want to interpret music well, but people forget so much of music is based on emotions. This entire section uses acting skills to specifically improve your work in musical theatre. We will be tackling eye gaze, role shifting, emotional interaction, reactive interpreting, audience guidance, and the use of musical theatre performance techniques to communicate your message with power.
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POPULAR MUSIC (live content)
Country, Pop, Big Band, Christian, Rap, Rock, Soul, Children's music.... and and and and... they all sound different, which means they should all LOOK different as well. We are going to spend time practicing different genres of music so you can become more effective in your presentation.
PERFORMANCE NIGHT (live content)
Let's see what we can do. It's not required but if you are interested, we will gather all these techniques and perform for each other.
FORMAL RID OBJECTIVES:
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Educational Objectives
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Attendees of this workshop will be able to model the appearance of the artists and actors they represent by using a variety of costuming and make-up techniques. This allows for a more seamless transition between the interpreter and the stage. Attendees will be able to negotiate backstage areas, understand and reiterate theatrical terminology, recognize the names and uses of theatrical equipment, appropriately interact with stage crew members, alter their signing size and energy to fit the stage environment. Attendees will be able to reiterate and explain the theories of performance interpreting. Attendees will be able to analyze how music is used to manipulate emotion within a song, and will be able to express those analyses with their own bodies and signs. Attendees will also be able to analyze the choices artists and characters make in presenting their craft, better preparing them for emulating those characteristics in their interpretations. Attendees will be able to emulate specific characteristics artists present such as gender, age, nationality, controlled use of body face and eyes, character specific pointing and gesturing, vocal characteristics, musical transitions, body movements, and they will be able to produce multiple characters simultaneously. Attendees will also be able to reproduce a range of emotions and body movements to indicate mood and thoughts in the manner actors do. Attendees will be far more adept in managing team situations with the understanding of different teaming mindsets. Attendees will be able to reproduce creative glosses which include gesturing, idiomatic expressions in both English and ASL, picture development, pantomime, as well as additional ASL elements. Attendees will be given an insider’s view of how artists write their music, and leave with an understanding of the methods and philosophies used in writing, there by being empowered to choose more effective translations. Attendees will also be able to recognize the common errors made by professional interpreters in their glossing techniques and will be able to correct them for a more perfect interpretation.
“The University of New Mexico is an Approved RID CMP Sponsor for continuing education activities. This professional studies program is offered for 2.7 CEUs at the little/none Content Knowledge Level.”
