"We’ve told people that avant-garde theater is not for everybody. We could do more of what the fashion industry does—they make avant-garde fashion something you want to see. You may not want to wear it, but you want to see it and experience it. So if theater could figure out a way to convince people that unconventional forms are exciting. “Oh you might get bored by this? That’s exciting!” The idea that the play or the performance is supposed to solve everything for you in the moment is insidious. No, it’s supposed to offer you a conversation—after. To me, performance is about inspiring people to do things. The time that you’re sitting in the theater is about giving you context for what you’re going to do after—it’s not the thing. I think that’s all theater artists really do."

— Taylor Mac, in this interview in BOMB Magazine (via itsdlevy)

(via learningtoricochet)

"Machismo is basically a drag act. There’s a gross swagger that usually accompanies masculinity and that’s something that’s learned and unnatural. It clouds our ability to discuss sexuality frankly."

— Wild Beasts frontman Tom Fleming (via snotferret)

By Ariel Baker-Gibbs. We did “Pippi”, and we had American Sign Language interpretation every weekend. This is because Wendy Lement, the producer at Wheelock, directed the play herself, and wanted the interpreters to be integrated with the cast. They were signing performers, rather than interpreters. They were each assigned a character in the cast, had their own blocking, and dressed to blend in onstage. “Pippi” was unusual in that the interpreters/sign performers rehearsed with the cast from day one until the opening night. They started from scratch, not knowing who the characters are, and worked alongside the cast to develop them. (This interview was conducted in ASL, and was translated and edited by Ariel Baker-Gibbs.)

"The landscape of theater accessibility for deaf people bears a lot of questions, many that lead back to the question of art and its purpose. Theater and art inspires us—that’s the goal. This conversation is about how to do that. How can deaf people be inspired by the theater if we can’t look at the stage? How can we be inspired if we feel like we can’t be a part of it"

"You’re invited to join Suzan-Lori Parks from the lobby of The Public Theater in New York City for Watch Me Work which is livestreaming for the global, commons-based peer produced HowlRound TV network at howlround.tv. This performance in this season-long series happens on Wednesday, April 9 at 2pm PDT (Vancouver) / 4pm CDT (Austin) / 5pm EDT (Toronto) / 21:00 GMT / 10pm BST (London)."


Not only is the portrayal of disability by a non-disabled actor equivalent to blackface—what we in the disability community derisively call “cripping up” (pretending to have a disability)—universally accepted as a technical skill tucked away in an actor’s bag of tricks, it is always applauded and more often than not, rewarded. 16 percent of Academy Award winners have received the coveted statue for playing a character with a disability; just two of those winners were disabled actors.

If you think this phenomenon exists only in Hollywood, consider the 2013-14 New York theater season. Since spring 2013 alone, four plays featuring a central character with a disability have opened on Broadway: The Glass Menagerie, Richard III, Of Mice and Men, and the upcoming The Cripple of Inishmaan. Not one of these productions cast an actor with a disability in either the principal cast or as an understudy.


Disability in American Theater: Where is the Tipping Point? by Christine Bruno (via fuckyeahgreatplays)


to mark world theatre day, held on march 27, one hundred young syrians from jordan’s zaatari refugee camp acted in an adapted production of king lear. the play — which tells a story of exile, of a ruler losing touch with reality, and of a land divided by rival groups — was directed was nawar bulbul (third photo), a popular syrian actor who fled his country after appearing in anti government protests.

"i wanted to show that these children are not worthless …that they have something real to contribute." he said. “the show is meant to bring back laughter, joy and humanity” and "help [the children] express themselves." the kids — all under the age of fifteen — were actively involved in the costuming, for example.

many of the children cried when they heard the applause of onlookers at the play’s end. said one child, “i do not feel lonely any more in this place.” their parents described the project as a rare point of light in a bleak camp existence. after the show, they boasted of their children’s talent.

the production, months in the planning, was also meant to help counteract the effects of a war that has caused young syrians to miss vital years of education. about 60,000 of the refugees at the zaatari camp are younger than eighteen, and fewer than a quarter regularly attend school. many fear the war is creating a lost generation of children.

photos are by warrick page for the new york times and jared kohler for unhcr. for more on syria’s refugee crisis, see #withsyria, care international, oxfam syria crisis appeal, human care syria and free syrian voices

(it’s interesting to note that shakespeare actually mentions the city of aleppo in mabeth, which serves as a reminder that syria is one of our oldest centers of civilization.)

(via goodstuffhappenedtoday)

You know what’s great about learning differences and dyslexia? This looks normal to me. Don’t call us ‘disabled’; we’ve got super powers ;)

You know what’s great about learning differences and dyslexia? This looks normal to me. Don’t call us ‘disabled’; we’ve got super powers ;)

(via boardingschoolcarnie)

Films in which named female characters have conversations that do not revolve around men are likely to enjoy more box office success than films which do not, according to an influential US website.