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The College at Brockport: State University of New York Digital Commons @Brockport English Master’s Theses English 1999 Deaf Theatre: Audience Appeal Pamela R. Linza The College at Brockport Follow this and additional works at: http://digitalcommons.brockport.edu/eng_theses Part of the Other Communication Commons, and the Theatre and Performance Studies Commons Repository Citation Linza, Pamela R., "Deaf Theatre: Audience Appeal" (1999). English Master’s Theses. 31. http://digitalcommons.brockport.edu/eng_theses/31 This Thesis is brought to you for free and open access by the English at Digital Commons @Brockport. It has been accepted for inclusion in English Master’s Theses by an authorized administrator of Digital Commons @Brockport. For more information, please contact [email protected]. ·DEAF THEATRE: AUDIENCE APPEAL by Pamela R. Linza A Thesis Submitted to the Department of English of the State University of New York, College at Brockport, in partial Fulfillment of the requirements for the degree of MASTER OF ARTS 1999 Table of Contents Abstract ....................................... : .................................................................................................... I Chapter One . ............... ............. .. ................ ................... ................................... ......................... ....... 1 Chapter Tv10... .......................................................................................................... .................... 10 Chapter Three ....................................... : ........................................................................................35 CURRENT PROBLEMS FOUND IN DEAF THEATRE ................ .... ............. .......... ............................................. 35 CRITICISM IN DEAF THEATRE .......... .......... .... ............................... ................................ ................................ 37 ARISTOTELIAN CRITICISM FOR DEAF THEATRE AS INTERPRETED BY ANDREWS .. ..................................... 39 AUDIENCE APPEAL IN DEAF THEATRE ............ ................ ........... ............................ ....................................... 56 BANGS' FINDINGS ON AUDIENCE APPEAL IN DEAF THEATRE ..... .... ........... ....... .......................................... 56 OPERATING PHILOSOP HIES OF TWO DEAF THEATRICAL COMPANIES . ...................................................... 65 DEAF WEST THEATRE ................................................................................................... ................................... 66 CLEVELAND SIGNSTAGE THEATRE .............................. ..... .... ...... ... ... ........... ...... ..................................... 69 Chapter Four ............ ................ ....... ................................................. ................................. ............ 75 Appendix A ........................... ...... .... ...................... ............................ ........... ..................... ............. 96 Appendix B ..................... ............. ...... ...... ....... ................... .................. ........................................ 10 1 Appendix C ......... ................................................................. ..................... ....................... ......... 103 Works Cited .... .......................................... .......... ... ... ............................................................ ....... 106 ' v Abstract A majority of Deaf Americans agree that viewing a typical theatrical performance is a formidable task. In the second half of this century, attitudinal changes made by Americans have resulted in new and increased opportunities for their Deaf counterparts to participate in American theatre. American theatregoers who are Deaf can choose plays in general theatre as well as those in Deaf theatre. However, they experience problems in appreciating plays in Deaf theatre. More specifically, audience appeal is the main problem. Audience appeal ·refers to a concept in which major aspects of performances are designed to engage the thoughts and reactions of a gro�µp of spectators. Its definition is slightly expanded for playgoers who are Deaf; the aspects of performances are generally designed so that they play on human visual capacities. Essential characteristics of audience appeal for Deaf audiences consist of adding sign language principles and conventions from Deaf culture. Scholarly research in the recent years has shown that the Deaf audience members have preferences as to how they enjoy a theatrical experience. Some experts argue that the visual aspect of the performance is the most important consideration, while others contend that choice of language and culture contributes most significantly to appeal for Deaf audiences. Some argue that accessibility, not audience appeal, is the main problem. This may be misleading. Accessibility can simply refer to the way of getting in the theatre and provision of services. But it does not optimize Deaf audiences' theatrical experiences. In the light of textual, historical, and cultural research, the problem of audience appeal for Deaf people is investigated. To address the persistent problem of audience appeal, some experts recommend careful attention to cross-cultural issues. Other experts endorse innovative strategies that meet the needs of both Deaf and hearing audiences. Some contend that the above proposals will not help resolve the problem. They claim that development of productions unique to Deaf people is the only feasible solution. However, according to other experts, this solution is impractical in terms of costs and attendance. This thesis informs that 111 audience appeal for the Deaf in theatre is problematic, evaluates the existing strategies that have been implemented, and offers a set of suggestions for an improved Deaf theatre for its audiences. This thesis includes information and recommendations for playwrights, directors, casts, audiences, and critics who are advocates of audience appeal for theatregoers who are Deaf. .. IV Chapter One Since the early l 970's, documentation concerning aesthetics for Deaf people in hearing and Deaf theatres has mushroomed. One of the main concerns is audience appeal. The problem is that the current concept of audience appeal, those aspects of theatre that increase the appeal for audiences, is so varied. Some experts argue that the visual aspect of the performance is the most important characteristic of audience appeal, while others contend tha� choice of language and culture contributes most significantly to appeal for Deaf audiences. Still others argue that accessibility, not audience appeal, should be the main focus. This can be misleading. Accessibility can simply refer to provisions of services such as an appropriate language vehicle. But it does not necessarily optimize the theatrical experience for Deaf people. This thesis explores different issues related to audience appeal distinctive to Deaf Americans. The purpose of this thesis is to clarify and re-define the theatrical concept of audience appeal for Deaf people. This thesis should make it apparent that Deaf theatre is in critical need of a new definition of its concept of audience appeal to ensure enhancement of its quality. Chapter one introduces modem theatre for Deaf people and defines terms relevant to the thesis. Chapter two reports the early trends in Deaf theatre and representative theatrical entertainment forthe Deaf in the 20th century. Chapter three discusses different ideas proposed by scholars in response to diverse concerns and challenges of audience appeal unique to present-day Deaf theatre. Finally, the conclusion makes recommendations designed to enhance audience appeal in Deaf theatre. Currently, a wide range of theatrical experiences is available to Americans who are Deaf. An increasing number of performances in professional theatres in major cities across the country are interpreted, making them readily accessible to Deaf people. In addition, the trend of community and school theatres in the United States offering signed translations of their shows has been growing steadily. Deaf patrons can attend not only performances found in general theatres, but also performances that are tailored to their needs. Such performances are usually presented in Deaf theatres by professional and amateur troupes, a majority of them Deaf plus a small number of hearing actors with strong affiliations to the American Deaf community. In the last thirty years, social progress for Deaf people in theatres has been made by leaps and bounds. The establishment of a national theatre for the Deaf in 1969 has spawned many small Deaf theatrical companies throughout the United States. As a result, the growth of Deaf theatre has created increased opportunities for Deaf people in many areas suchas acting, training, translating, and so on. Americans also have formally acknowledged Deaf performers by casting them in roles in notable plays and films. Perhaps the most acclaimed Deaf actress today is Marlee Marlin who made deafness a household word by winning an Oscar award for her acting in "ChildreJJof a Lesser God," a movie based on a 1981 Tony-v.rinning play of the same title. Another significant national event that has contributed to the study of the present-day American Deaf theatre is the Deaf President Now (DPN) movement at Gallaudet University (GU) in Washington, DC that occurred during the first week of March, 1988. This movement

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