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The Sign Language Interpreted performance: A Failure of Access Provision…
The Sign Language Interpreted performance: A Failure of Access Provision for Deaf Spectators
Sign language interpreted performances (SLIPs) are performances of spoken-language theatre
rendered d simultaneously to Deaf spectators through a single interpreter using sign language e (Gebron; Rocks 2015) rather than other access tools, such as supertitles or captions
Deaf theatre-makers suggest that SLIPs do
not offer genuine accessibility
the ability to understand the play is compromised by the way the performance is delivered
SLIPs as currentl delivered are not effective in providing accesibility for Deaf spectators
representa failed technique of theatre making that has been largely abandoned by the Deaf community
deaf signifies both audiological deficiency and Deaf means a sense of cultural identity
sign languages are visual spatial languages
hands
face
body
real langauge just expresses in a different modality
sign languages cannot be rendered in any practicable written form
National Theatre of the Deaf
1967
Deaf theatre defined by Lou Fant and Dorothy Miles
Deaf actors performing in sign language and resenting material onstage that reflects the life experience of Deaf audiences
NTD's found artistic director described it as a theatre of the Deaf, for the benefit of hearing audiences
sign language theatre was widely copied in the late twentieth century
British Theatre of the Deaf
Moscow Theater Studio of Mimicry and Gesture
SLIP's
a technique developed in the UK as part of the rising awareness of BSL in the 1980s
BSL
identified as a real language in 1975
The Royal National Theater in London produced its first SLIP in 1990
English National Opera also produced first SLIP in 1990
touring theatre hires a local interpreter
interpreter sees play only few days before showing
little to no rehearsal
deaf spectators are forced to choose between watching the actors onstage or the interpreter
concentrating on one means sacrificing the other
the interpreter is required to create her own text,a sign language rendition of the spokensource text
Deaf people prefer to attend the theater only when they already know the story or are able to undertake a high degree of preparation
inadequate communication offstage prevents honest discussion of the failure of communication onstage
many SLIPsare not allowed or paid to attend rehearsals -- which in turn affects their ability to interpert precisely
Through the professionalization and integration of interpreters, as well as the employment of more e Deaf actors using sign language onstage, theatre can take a step away from its current position of a stage art t available exclusively to the hearing majority and become a more inclusive communicative act hat encourages the participation of all members of society