The Glass Booth / An Both Gloine

In her new experimental moving image work The Glass Booth / An Both Gloine, artist Jenny Brady casts a cinematic gaze on the figure of the interpreter, exploring the interpreting profession and the contemporary landscape of interpretation. Through vignettes set in both extreme and familiar environments, the film portrays the processes of listening, speaking, and forgetting within acts of formal and informal interpretation. This film is a study of the complex, intersubjective nature of interpreters’ work, placing them at the centre, rather than intermediaries that blend into the background. Brady seeks to illuminate the interpretive act – an elaborate, sensory process of listening, decoding and responding.

The film emerges from research into the birth of the interpreting profession, which is less than a century old. Simultaneous interpretation technology, the language interpretation system that allows interpreters to hear and speak at the same time, was first employed prominently during the Nuremberg Trials that took place between 1945 and 1946, developing in direct relation to modern international diplomatic relations and the founding of the United Nations. This project builds on themes explored in Brady’s recent films, Music for Solo Performer (2022) and Receiver (2019) which looked at the complexities of technologically mediated communication.

The Glass Booth examines the art of interpretation as it extends to four different arenas; Ronald Reagan and Mikhail Gorbachev meeting at the Geneva Summit in 1985, an asylum seeker interview at the International Protection Office, a Young Interpreters programme in a Dublin primary school, and a European conference interpreter translating into target languages in real time. In each setting, though stakes are high, slips are inevitable. One interpreter speaks of his reliance on muscle memory to do the job, likening his work in simultaneous interpretation to his former career as a paramedic and interest in rally driving. Probing the negotiation between intention and expression, the artwork lays bare how interpretation is essential to humankind’s survival. The film will be screened in two, alternating versions: one with subtitles and the other with audiovisual descriptions for blind or low vision audiences. The Glass Booth has been generously funded through the Arts Council’s Film Project Award and premiered at the Galway Film Fleadh 2025.

Text by Aisling Clark.