UID:
edoccha_9961612443702883
Umfang:
1 online resource (329 pages)
Ausgabe:
First edition.
ISBN:
3-031-61446-1
Anmerkung:
Includes index.
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Intro -- Acknowledgments -- Why This Book? -- Contents -- About the Authors -- List of Figures -- Chapter 1: Introduction and Framework -- Essential Background -- Defining Common Terms -- Defining Integrated Theatre -- Deaf/Mainstream Theatre Spectrum -- Defining Success in Integrated Theatre -- Non-negotiable Principles -- Production Case Studies -- Spring Awakening -- ASL Midsummer Night's Dream -- The Music Man -- Angels in America, Part 1: Millennium Approaches -- References -- Chapter 2: History and Practices of Integrated Theatre -- A History of Deaf and Hearing Integrated Theatre -- The Roots of Integrated Theatre -- Deaf Theatre in the Early Twentieth Century -- Emergence and Effects of the National Theatre of the Deaf -- Deaf Theatre in the Twenty-First Century -- Protactile Theatre -- The Current Moment -- Dual Staging Models -- Double Casting -- Shadowing -- 'Voice Of' -- Disconnected Persona -- Interpreter-Characters -- Simultaneous Communication (SimCom) -- Signing-Centered -- Sign Language Linguistics, Poetics, and Musicality -- Sign Language Linguistics -- Sign Language Poetics -- Sign Language Musicality -- Artistic Challenges and Issues -- Issues with Casting and Representation -- Issues with the Portrayal of Deaf Characters -- Artistic Challenges Onstage -- Uniquely Challenging Scenarios -- References -- Chapter 3: Laying the Foundation -- Pre-audition Period -- The Directing Team -- Co-directors -- Director-Assistant Director -- Director-DASL -- Creating an Initial Concept: Angels in America, Part 1: Millennium Approaches -- Which Characters Are Hearing? -- Which Characters Are Deaf and Where Do They Fit on the Deafhood Continuum? -- How Are the Characters Able to Understand Each Other If They're Using Different Languages? -- Is There a Dramaturgical Reason for the Unique Communication Environment Within the Story?.
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How Is the Audience Able to Understand Everything Happening Onstage? -- If Characters Traditionally Thought to Be Hearing People Are Now Deaf, How Does Deaf Culture Enter the Story? -- Guidelines for Designers -- First Production Meeting -- Working with ASL Interpreters -- Working with Deaf People -- Key Points in Design -- Scenery -- Costumes -- Props -- Lighting -- Projections -- Sound -- Bringing It All Together -- Key Points in Design: Angels in America, Part 1: Millennium Approaches -- Director of Artistic Sign Language -- What's in a Name? -- The Role of the DASL -- Meeting with the Director -- Work on Their Own -- Translation Period -- Auditions -- Production Meetings and Design Process -- First Rehearsal -- Ongoing Rehearsals -- Interpreted Performances -- The Role of a Deaf Consultant -- Key Team Member -- Director of Artistic Sign Language: Angels in America, Part 1: Millennium Approaches -- References -- Chapter 4: Assembling the Cast -- The Audition Process -- Announcing Auditions -- ASL Script at Auditions and Callbacks -- Establishing the Environment -- Interpreters at Auditions -- Callbacks -- Help, a Deaf Actor Just Showed Up Unexpectedly! -- Casting -- A Different Kind of General Audition -- Guidelines for Actors -- Working Across Boundaries -- A Few More Terms -- Counterpart -- Educate Yourself -- Show Cultural Humility -- On Your Feet -- Once You Have the Role -- Out of Rehearsal -- Scene Partner -- Chapter 5: Shaping the Performance -- The Rehearsal Process -- The First Rehearsal -- Deaf Culture and ASL Training -- First Read-Through -- Cast Connections -- Interpreters at Rehearsals -- Translation and Tablework -- Blocking -- Telling the Audience Where to Look -- Sightline Obstructions -- Limiting Onstage Distractions -- Elements of Deaf Culture -- Blocking for Dual Staging -- Who Leads Blocking? -- Scene Work.
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Rehearsal Process: Angels in America, Part 1: Millennium Approaches -- First Rehearsal -- Translation and Tablework -- Blocking -- Scene Work -- Guidelines for Stage Managers and Front-of-House Staff -- Guidelines for Stage Managers -- High-Quality Communication -- Tech Week Timing -- Guidelines for Front-of-House Staff -- Seating -- Placement and Types of Access -- Ticketing -- Scheduling -- Supporting Deaf Audiences -- A Further Note on Reaching Deaf Audiences for Mainstream Productions -- Chapter 6: Seeing the Performance -- Spring Awakening -- Dual Staging Models -- Artistic Successes -- Artistic Critique -- Accessibility Successes -- Accessibility Critique -- ASL Midsummer Night's Dream -- Dual Staging Models -- Artistic Successes -- Artistic Critique -- Accessibility Successes -- Accessibility Critique -- The Music Man -- Dual Staging Models -- Artistic Successes -- Artistic Critique -- Accessibility Successes -- Accessibility Critique -- Angels in America, Part 1: Millennium Approaches -- Dual Staging Models -- Artistic Successes -- Artistic Critique -- Accessibility Successes -- Accessibility Critique -- References -- Chapter 7: Conclusion -- Lessons Learned -- Post Mortem -- Final Words -- Appendix A: Excerpts from Interviews -- Integrated Theatre -- Definitions of Integration -- Tyrone Giordano, Deaf Actor and DASL -- Christopher Robinson, Hearing Theatrical Interpreter -- Alexa Scott-Flaherty, Hearing Director -- How Do You Define Success for Integrated Productions? -- Aaron Kelstone, Deaf Actor, Director, and Playwright -- Joseph Santini, Deaf Theatre-goer and Playwright -- What Has Been Your Best Experience of an Integrated Show? -- Amelia Hensley, Deaf Actor -- Aaron Kelstone, Deaf Actor, Director, and Playwright -- Joseph Santini, Deaf Theatre-goer and Playwright.
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Why Is It Important for Productions to Integrate Deaf and Hearing Artists? -- James Caverly, Deaf Actor, Director, DASL, and Playwright -- Aimee Chou, Deaf Actor, Director, and Playwright -- Tyrone Giordano, Deaf Actor and DASL -- Hayden Orr, Deaf Actor and DASL, RIT/NTID Student -- Malik Paris, Deaf Actor and Director -- Serena Rush, Deaf Actor and Director, RIT/NTID Student -- Alexa Scott-Flaherty, Hearing Director -- Visions for the Future -- James Caverly, Deaf Actor, Director, DASL, and Playwright -- Brian Cheslik, Deaf Actor, Director, DASL, and Theatrical Interpreter -- Victoria Covell, Deaf Actor and Dancer, RIT/NTID Student -- Luane Davis Haggerty, Hearing Actor and Director -- Tyrone Giordano, Deaf Actor and DASL -- Amelia Hensley, Deaf Actor -- Cath Kiwitt, Hearing Theatrical Interpreter -- Hayden Orr, Deaf Actor and DASL, RIT/NTID Student -- Malik Paris, Deaf Actor and Director -- The Interpreter Role -- From an Interpreter's Perspective, What Do You Want People in Theatre to Know About Your Role? -- Cath Kiwitt, Hearing Theatrical Interpreter -- Christopher Robinson, Hearing Theatrical Interpreter -- Lindsey Snyder, Hearing Theatrical Interpreter, Actor, and Director -- From the Interpreter Perspective, What Do You Want to See Going Forward in the Theatrical Community? -- Lindsey Snyder, Hearing Theatrical Interpreter, Actor, and Director -- What Are a Few of the Unique Challenges Related to Interpreting for Musical Theatre? -- Cath Kiwitt, Hearing Theatrical Interpreter -- Miscellaneous Questions -- How Have Approaches to Integrating Deaf and Hearing Theatre Evolved Over Your Career? -- Aaron Kelstone, Deaf Actor, Director, and Playwright -- What Does Equity Look Like in Integrated Theatre? -- Christopher Robinson, Hearing Theatrical Interpreter.
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What's One Thing You'd Tell a Hearing Director Who Wants to Do Integrated Deaf and Hearing Theatre for the First Time? -- Michael Arden, Hearing Actor and Director -- Cath Kiwitt, Hearing Theatrical Interpreter -- As a DASL, What Do You Think Is the Most Important Thing to Keep in Mind When Working on an Integrated Production? -- James Caverly, Deaf Actor, Director, DASL, and Playwright -- Tyrone Giordano, Deaf Actor and DASL -- If a Director Undertakes Integrated Theatre, Does the Director Have an Ethical Responsibility to Ensure Access for Deaf Audiences? -- Christopher Robinson, Hearing Theatrical Interpreter -- Lindsey Snyder, Hearing Theatrical Interpreter, Actor, and Director -- What Do You Think Is the Best Thing a Designer Can Do to Help Support or Build or Create an Inclusive Design Process? -- Erin Auble, Hearing Scenic Designer -- Sacha Glasser, Hard of Hearing Lighting Designer -- Describe a Production You've Worked on That You Found to be Particularly Inclusive During the Audition, Rehearsal, and/or Performance Periods -- Michael Arden, Hearing Actor and Director -- What Are the Best Strategies You've Witnessed for Making Plays Accessible to Both Deaf and Hearing Audiences? -- James Caverly, Deaf Actor, Director, DASL, and Playwright -- Is There Anything We Haven't Asked You That You Want to Mention? -- James Caverly, Deaf Actor, Director, DASL, and Playwright -- Brian Cheslik, Deaf Actor, Director, DASL and Theatrical Interpreter -- Christopher Robinson, Hearing Theatrical Interpreter -- Appendix B: Full Interviews -- Michelle Banks -- Joshua Castille -- Patrick Graybill -- Monique Holt -- Crom Saunders -- Howie Seago -- Ethan Sinnott -- Alexandria Wailes -- Appendix C: Further Reading -- Deaf History and Deaf Studies -- Deaf Theatre -- Other Resources Include: -- DeafBlind Theatre and Protactile -- Sign Language Poetics.
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Sign Language Musicality.
Weitere Ausg.:
ISBN 3-031-61445-3
Sprache:
Englisch
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