Giving and Taking Voice in Learning Disabled Theatre offers unique insight into the question of ‘voice’ in learning disabled theatre and what is gained and lost in making performance. It is grounded in the author's 18 years of making theatre with Different Light Theatre company in Christchurch, New Zealand, and includes contributions from the artists themselves. This book draws on an extensive archive of performer interviews, recordings of rehearsal processes, and informal logs of travelling together and sharing experience. These accounts engage with the practical aesthetics of theatre-making as well as their much wider ethical and political implications, relevant to any collaborative process seeking to represent the under- or un-represented. Giving and Taking Voice in Learning Disabled Theatre asks how care and support can be tempered with artistic challenge and rigour and presents a case for how listening learning disabled artists to speech encourages attunement to indigenous knowledge and the cries of the planet in the current socio-ecological crisis. This is a vital and valuable book for anyone interested in learning disabled theatre, either as a performer, director, dramaturg, critic, or spectator.

We often know performance when we see it - but how should we investigate it? And how should we interpret what we find out? This book demonstrates why and how mixed methods research is necessary for investigating and explaining performance and advancing new critical agendas in cultural study. The wide range of aesthetic forms, cultural meanings, and social functions found in theatre and performance globally invites a corresponding variety of research approaches. The essays in this volume model reflective consideration of the means, processes, and choices for conducting performance research that is historical, ethnographic, aesthetic, or computational. An international set of contributors address what is meant by planning or designing a research project, doing research (locating and collecting primary sources or resources), and the ensuing work of interpreting and communicating insights. Providing illuminating and necessary guidance, this volume is an essential resource for scholars and students of theatre, performance, and dance.

This edited collection investigates the myriad ways in which disability performance travels in a globalized world. Disability arts festivals are growing in different parts of the world; theatre and dance companies with disabled artists are increasingly touring and collaborating with international partners. At the same time, theatre spaces are often not accessible, and the necessity of mobility excludes some disabled artists from being part of an international disability arts community. How does disability performance travel, who does not travel – and why? What is the role of funding and producing structures, disability arts festivals and networks around the world? How do the logics of international (co-)producing govern the way in which disability art is represented internationally? Who is excluded from being part of a touring theatre or dance company, and how can festivals, conferences, and other agents of a growing disability culture create other forms of participation, which are not limited to physical co-presence? This study will contextualize disability aesthetics, arts, media, and culture in a global frame, yet firmly rooted in its smaller national, state, and local community settings and will be of great interest to students and scholars in the field.

Out of Time? has many different meanings, amongst them outmoded, out of step, under time pressure, no time left, or simply delayed. In the disability context, it may also refer to resistant attitudes of living in “crip time” that contradict time as a linear process with a more or less predictable future. According to Alison Kafer, “crip time bends the clock to meet disabled bodies and minds.” What does this mean in the disability arts? What new concepts of accessibility, crip futures, and crip resistance can be staged or created by disability performance? And how does the notion of “out of time” connect crip time with pandemic time in disability performance? The collective volume seeks to respond to these questions by exploring crip time in disability performance as both a concept and a phenomenon. The book tackles the topic from two angles: on the one hand from a theoretical point of view that connects performance analysis with crip and performance theory, on the other hand from a practice-based perspective of disability artists who develop new concepts and dramaturgies of crip time based on their own lived experiences and observations in the field of the performing and disability arts. The book gathers different types of text genres, forms, and styles that mirror the diversity of their authors. Besides theoretical and academic chapters on disability performance, the book also includes essays, poems, dramatic texts, and choreographic concepts that ref lect upon the alternative knowledge in the disability arts.

Providing a solid media-philosophical groundwork, the book contributes to the theory of alterity in Performance Philosophy, while stimulating and inspiring future inquiries where studies in media, art, and literature intersect with philosophy. It collects a selective as well as productive diversity of philosophical, literary, and artistic figures of thought, attaining an exacting framework as a result of a clearly elaborated ethics of alterity, innovatively opened up by way of an aisthetics of existence: Touching upon the Aristotelian concept of aisthesis, the material, perceptual and sensory dimensions of everyday bodily existence are highlighted to move beyond what aesthetics in Modern Philosophy just specializes in, namely art and the beautiful. The notion of existence is therefore borrowed from Maurice Merleau-Ponty, who understands it as something concrete and richly interrelated, so as to avoid the dualisms both of psychological processes of consciousness and of physiological mechanisms. It is thus made explicit such that the unity of body and soul is not any arbitrarily arranged connection between “subject” and “object” but, rather, that it is enacted at every instant in the movement of existence. Imaginatively then, the book puts into writing how alterity not only can be treated theoretically but can be also made accessible through writing as well as rendered relatable through reading. That is why it deals with exemplary interpersonal encounters in the lifeworld, in the arts, and in the media, which are initially thematized as intercorporeal experiences, so as to enable an approach for an ethics of alterity by way of, in particular, sites located within a phenomenology of perception oriented towards the lived body.

Incapacity and Theatricality acknowledges the distinctive contribution to contemporary theatrical performance made by actors with intellectual disabilities. It presents a close examination of certain key theatrical performances across a variety of different media, including John Cassavetes’ 1963 social issues film A Child Is Waiting; the performance art collaboration between Robert Wilson and Christopher Knowles; and the provocative pranksterism of Christoph Schlingensief’s talent show mockumentary FreakStars 3000. Tracing a global path of performances, Incapacity and Theatricality offers an analysis of how actors with intellectual disabilities have emerged onto the main stage, and how their inclusion calls into question long-held assumptions about both theatre and intellectual disability. For postgraduate students, or anyone interested in the shifting dynamics of twenty-first century theatre, McCaffrey’s work offers a vital consideration of the intersubjective relations between people with and without intellectual disabilities and ultimately addresses urgent questions about the situation and representation of the contemporary subject caught up somewhere between incapacity and theatricality.

Giving Voice to Profound Disability is devoted to exploring the lives of people with profound and multiple learning difficulties and disabilities, and brings together the voices of those best placed to speak about the rewards and challenges of living with, supporting and teaching this group of vulnerable and dependent people – including parents, carers and teachers. Along with their personal insights the book offers philosophical reflections on the status, role and treatment of profoundly disabled people, and the subjects discussed include: Respect and human dignity Dependency Freedom and human capabilities Rights, equality and citizenship Valuing people Caring for others The experience and reflections presented in this book illustrate the progress and achievements in supporting and teaching people with profound disabilities, but they also reveal the challenges involved in enabling them to develop their full potential. It is suggested, also, that these challenges apply not only to this group, but also to people who, through sickness, accident and old age, face equivalent levels of dependency and disability. Giving Voice to Profound Disability will be of interest to all those involved in the lives of severely and profoundly disabled people, including parents, carers, teachers, nurses, therapists, academics, researchers, students and policymakers.