Putting a Face on Theatre
About twenty years ago there were a sets of regulations outlined that addressed the needs of persons with special handicaps. These needs are handled differently in various countries around the world, but the general intent is to assure that buildings and facilities are equally accessible by everyone. In the United States this is commonly referred to as the ADA, or Americans with Disabilities Act. The standards can be found in the Code of Federal Regulations (CFR), Part 36 (www.ada.gov). The ADA addresses many aspects of the workplace, public spaces, and entertainment venues. It is extensive and sometimes not very well understood.
This discussion is to center about the implementation of Assistive Listening (or sometimes called Hearing Assistance) systems. The 1991 Standards, at section 4.1.3(19)(b), require assembly areas, where audible communication is integral to the use of the space, to provide an assistive listening system if they have an audio amplification system or an occupant load of 50 or more people and have fixed seating. The 2010 Standards at section 219 require assistive listening systems in spaces where communication is integral to the space and audio amplification is provided. The new code does not define the minimum occupancy of the space.
As an AV consultant, we see many different types of assistive listening systems installed. The two most common and easily upgradable are the types that use Infrared light (IR) and FM radio transmission (RF). The hard-wired (systems with headphone jacks in the chairs) and Induction Loop type systems are much less frequently used due to installation and long-term maintenance issues. More information about Induction Loop systems can be found here: www.hearingloop.org
Beyond the selection of the signal transmission method, which I will discuss below, there are other considerations to be thought-out in order to arrive at a system specification that will satisfy all of the operational needs of both the owner and the end-users.
RF transmission systems generally operate in a special FM radio band that is designated for this purpose by the FCC (it is not in the normal FM radio band used by local broadcasters). As a radio-based device, the transmitters broadcast a signal that can be received through walls and have a reception range that can sometimes be as far as 1,000 feet from the transmitter. This means that if adjacent classrooms or theatres are to use the same types of systems, then the frequencies (channels) must be carefully coordinated so that the proper program is heard in each space. Some FM-based systems can operate up to 16 channels without interfering with each-other, while others are limited to just one or two channels of simultaneous operation. The receivers used by the listener must be tuned to the proper channel that matches the program source they are interested-in. The FM transmitter (Radio Signal Modulator) is usually mounted in an equipment rack along with the rest of the audio system for a room. The antenna typically should be located remotely from the transmitter so that it can be positioned where it broadcasts the best signal coverage to the audience area(s). Proper mounting and orientation of the antenna is very important so that the radio waves do not reflect off of nearby metal (widow frames, conduits, pipes, metal wall studs, rebar, tile grid, etc.), and so the antenna directs the RF waves in the proper direction.
IR transmission systems utilize invisible light to transmit the signal. Unlike the RF antenna that can be hidden from sight, the IR emitter panel(s) must be located ‘line-of-sight’ to the audience. The size and quantity of the emitter panels vary by the shape and size of the room to be ‘illuminated’ by the IR light. The advantage that this transmission method has is that the signal stays in the room and will not disrupt similar systems in adjacent rooms. This allows the same receiver to be used in any room that is equipped with IR emitter panels. This is very helpful if there are students that will move between rooms, as they can take the receiver with them as needed. Many commercial venues rely in IR systems so that the program cannot be recorded from outside the performance space.
Similar to the FM systems, there is usually a signal processor that resides in the audio equipment rack, and then the signal is connected to the emitter panel(s) via a coaxial cable. Each system manufacturer has different wiring and powering requirements, so the specific wiring method cannot be predetermined unless the transmitter & antenna / emitter product is selected.
Other considerations are to determine where throughout the campus the assistive listing systems are to be installed. The ADA requires these systems in performance venues of any seating capacity, so lecture halls, gymnasiums, cafetoriums, gymatoriums, theatres, and auditoriums all fall in this category. Based on this new standard, it appears that classrooms now require them if there are audio systems present, however, since an AV system is a very common component in most modern classrooms, so the inclusion of an assistive listening system in the AV layout and design of these spaces should always be considered.
Outdoor venues like soccer fields, football fields, baseball fields, and amphitheatres also require assistive listening systems. These present a bigger challenge as they are much larger spaces and they are typically inherently outdoors and used under full daylight. IR type systems do not work in full sunlight as the sun emits IR energy that is much stronger than the assistive listening system emitter panels can produce. These venues can only use an RF based (FM or Induction Loop) transmitter system. Just as with the adjacent classrooms, adjacent outdoor venues must be designed to operate on different channels.
In schools where multi-lingual events occur, a multi-channel IR or FM Assistive Listening System can be utilized and interpreters can relay the program to the foreign language listeners.
The retrofitting of an entire campus or school district with a quality Assistive Listening System can be a complex project that will require careful integration of the equipment with the existing systems. Each room will undoubtedly have unique issues with the proper placement of equipment, storage and charging facilities, and in the case of RF based systems – frequency coordination. Additionally, the training of staff regarding the proper use and maintenance of the equipment will have to be a part of the project specifications. A professional independent AV Consultant can provide an objective systems design and product specification that can be equitably bid and installed by the successful contractor, and can provide project administration that will assure the school that their funds are responsibly applied.
Comment
Mr. Firemark's comment at the end of his blog, "While it is inevitable that theatres will see more litigation over ADA issues, Theatres that demonstrate that they’ve investigated the options, and consulted with individuals with disabilities to determine what type of auxiliary aids of services are needed to ensure effective communication, will encounter fewer issue," seems to hit the nail on the head, in my experience. As I understand it, "reasonable accommodation" is the governing language in the ADA--but "reasonable accommodation" is fairly vague. Demonstrating an ongoing and sincere engagement with accessibilities issues is one of the best ways a venue can get in front of potential issues early. Consider appointing a staff member as an "accessibility manager," and appointing a special advisory committee on accessibility issues. (Of course, these appointments have to be substantive; the manager and/or committee must actively engage in accessibility issues...)
Arguments against open-captioning or sign-interpretation that suggest that these impinge on free-speech are problematic--at least to me--because as theatrical events are "created," we can choose to create them in such a way that includes accessibility options. There's no argument that sticking a sign-interpreter downstage left with a spotlight in the middle of a dark and moody scene can be significantly altering to a moment on stage; however, this is mainly due to the fact that including the sign interpreter was considered after the fact. Going into a production knowing a sign interpreter or open-captioning will be part of the experience allows us the opportunity to control how these effect the visual impact of the production. (What's that saying, "make it a choice, not an accident?")
Legality or not, I believe we have an ethical responsibility to find a way to make our work accessible to as many people as possible. First, because the nature of what we do is to communicate--we can't do that if we leave people out; second, in an era when so many more people go to movies than to live theatre, why in the world would we choose to exclude any potential ticket buyer?
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© 2011 Created by Jacob Coakley.
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