Introduction
One group often overlooked in diversity discussions is individuals with disabilities, whether visible or invisible. The Oxford dictionary defines disability as a physical or mental condition that limits a person’s movements, senses, or activities.
Theatre of Disability is an emerging field worldwide. Stephanie Barton Farcas notes, “Significant barriers still exist for individuals with disabilities pursuing careers in the arts. Issues include limited access to appropriate, professional arts training and education, and scarce exposure to current information and resources.” (Disability and Theatre: A Practical Manual For Inclusion in the Arts, 2018, p.5).
Some progress has been made in Theatre Arts regarding disability, yet we are often excluded from discussions. Accessibility improvements, such as sign language interpretation and wheelchair access in theaters, exist. However, disabled people remain severely underrepresented in both areas. To enhance inclusion and access in Theatre Arts, we must examine global approaches to disability representation in theatre.
My interest in the Theatre of the Disabled comes from my own lived experience as a disabled person. This personal perspective has motivated me, especially due to two early life experiences, to become an advocate for people with disabilities. I was diagnosed with Tourette’s Disorder when I was six and subsequently diagnosed with obsessive-compulsive disorder (OCD) when I was twelve. When I was younger, I had noticeable tics that would make my face grimace or cause me to clap my hands. Tics are the hallmark of Tourette’s, and many people have a variety of tics, such as blinking, head movements, or body movements.
A common misconception is that Tourette’s causes people to yell swear words; in reality, this affects only a small percentage, and most children outgrow certain tics.
As an adult, my disability is now hidden, and this presents new challenges. OCD is marked by uncontrollable rituals and repetitive thoughts. I rely on medication, and my rituals are invisible to others. Organizing and performing tasks in specific ways are daily requirements for me, even though they are unseen.
Because my disability is hidden, I encounter skepticism or pity when requesting accommodations. Many see me as fine and react with confusion or sorrow. Yet, I do not feel sorry for myself. My disability motivates my desire to correct stereotypes about disabled people and increase their representation in Theatre so others, like me, can see themselves in positive life roles.
There are other reasons for making this my research focus. Two experiences stand out as motivators for me. There are other reasons beyond my personal experiences for making this my research focus. Two specific experiences stand out as motivators for me to become a professor of Theatre and an advocate for people with disabilities. I began studying Theatre as an undergrad at the local community college. As a disabled person, I knew it was my responsibility to speak with professors about my accommodation needs. Although my diagnosis is private, I choose to share that I have OCD with my professors because I believe it provides more context about me. I had OCD and needed a note-taker for the course. I also needed to take my tests at the disability center and not with the rest of the class. In the early 2000s, not everyone was clear on disability laws and procedures.
I waited until the class emptied to share my diagnosis and needs with the professor. To my surprise, he disclosed having OCD and taking the same medication. This openness was new to me and unexpectedly reassuring. Having someone share their disability with me changed my outlook. Seeing others with disabilities succeed is vital for representation. I hope to be that visible role model for students, showing that success is possible.
In addition to wanting to be a role model or representative of my community, I was also motivated to become an advocate for people with disabilities. Besides wanting to be a role model or representative of my community, another experience that influenced me to become an advocate for people with disabilities was watching the documentary ‘Crip Camp.’ This documentary highlighted the beginning of the disability rights movement in the 1990s. At that time, people frequently used terms like cripple, retard, or gimp to describe the disabled community, even though today those words are generally not accepted. The campers at “Crip Camp” were people with disabilities who wanted to take control of their own lives. Before this movement, people with disabilities often faced a life of institutionalization, isolation, and discrimination. ought for the dignity of all people. These disabled campers (now advocates) met California Democrat Tony Coelho at a “Sit-In” in San Francisco. Tony Coelho became one of the authors of the Americans with Disabilities Act.
Before the ADA passed, 60 advocates, many from Crip Camp, climbed 83 steps to the US Capitol, leaving their wheelchairs to make their point to Congress. Their grueling climb sent a clear message: the Capitol was inaccessible. The resulting bill eventually passed into law over 30 years ago. Crip Camp made headway in the disability movement regarding access for people with disabilities, but much more work needs to be done regarding representation and inclusion. The Americans with Disability Act, ADA, is over 30 years old. The Civil Rights Act, however, is almost 60 years old. Disability is not mentioned in the Civil Rights Act of the early 1960s. The Civil Rights Act protects people from discrimination because of race, color, religion, sex, national origin, and sexual orientation. Groups listed in the Civil Rights Act have had at least thirty more years to make a difference in representation and Social Justice. The disabled community has some time to make up for the lack of representation and social justice.
My experience with disability underscores the need for awareness, positive representation, and concrete action toward greater inclusion for people with disabilities. Access for people with disabilities has improved, affecting 61 million Americans with various disabilities.
This research aims to gain a deeper understanding of people with disabilities in this area of Theatre. In this context, my research objective is to gain a deeper understanding of people with disabilities in this area of Theatre. In this study, I have considered how the Theatre of disability is represented in other countries and cultures. This ethnographic research included asking this group about their contribution to the Theatre of disability. As I delve deeper, I intend to better understand how disabled Theatre is viewed in India and, from a broader perspective, how this topic plays out globally. Building this understanding will help advance us toward a more inclusive and equitable artistic world. Theatre for a Cause online, while searching for disabled artists in the theatre community. This program in India illustrates how, with specific support, these disabled artists can become part of a thriving theatre program. After reading about this program’s goals, process, and production, this information should be shared with various audiences.
This program shows disabled people participating in a challenging agenda for even non-disabled people. Unlike prior attitudes toward disability from the sixties and seventies, this shows that the people in the program can learn and are competent. This illustration contradicts the attitudes about people with disabilities from earlier days that they could not care for themselves or accomplish things. We need to portray disabled people in this light since it can inform people about the potential of people with disabilities and continue to change attitudes about the abilities of people with disabilities. This program should also be highlighted because those working with people with disabilities in other regions or countries can see its success and replicate it. This program treats people with disabilities with dignity. These students are learning functional skills through an immersive program.
Additionally, these students are learning theater skills. These students can learn what regularly abled students learn when they study Theatre. Theatre is a powerful medium that can teach all people about themselves. These students can learn life skills along with their intervention skills.
The following conversation outlines the details of the Theatre for a Cause program in India.
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