Surtitling in two languages or in one language for opera and drama
Active for three decades, this is the most widespread, the easiest and most inexpensive way to provide the public of the performing arts with an efficient service of language mediation. The monolingual version is the most popular. The recently established bilingual titling is addressed to a cosmopolitan audience, such as that of international festivals or opera.
Surtitling for national and international theater tours
It is a service that allows large touring theatrical productions to provide diverse audiences and contexts with a consistent quality level of the titling. This applies both nationally and internationally; when language mediation has to deal with different foreign countries, titling becomes a more evident cultural mediation.
Surtitling for opera in concert form
Musical theater, unlike prose, can be presented without stage production, «in concert», in performances focusing on the listening rather than the visual. On such occasions, the translation-adaptation of the sung text is integrated with select stage directions that allow the audience to contextualize dramaturgically the texts of surtitles.
Multilingual titling for mobile devices or wired displays
The introduction of multilingual options and wireless technologies, as well as the emergence of the Web 2.0, has led, in the field of titling for the live show, to the use of new platforms such as mobile devices (smartphones, tablets, glasses 2.0) or wired multifunction displays. These technical contexts require specific text solutions.
Surtitling for hearing-impaired viewers
The reading of synchronized texts, adapted to theatre events according to specific parameters, can be of great help for sensory-impaired viewers, such as the hearing-impaired. It is a consistent support in television programs (as subtitles service), and it begins to be employed in movie theatres. For the theatre, a significant step forward in ensuring a larger, more accurate participation.