INTRODUCTION

This piece was originally writen in the earl 1990s, at the request of the publisher.
While many of the points are hopefully still valid,  it clearly does not reflect the use of Person First Language, a practice now fairly well-established across the U.S.
The changing language of disability identity is also indicative of the ever-evolving nature of Disability Culture, and the manner in which it is addressed in our communities - sometimes at the table amidst other diversity issues, but oft times still absent from those discussions.

by Jaehn Clare, M.A.
for Stage Directions
a newsletter for and about regional, community, and academic theater
November/December 1993

The recently passed Americans with Disabilities Act has drawn attention to making theaters accessible to disabled members of the audience.  However, more needs to be said about including us as members of the production teams as well.

Diversity awareness is a good thing.  At the same time, it is often difficult to know how or where to begin addressing the dynamics and creative challenges of working with disabled people - in part because they (we!) have been culturally invisible for far too long.  And most people have been exposed to more myth and charity stereotypes than genuine information.

What follows in an inside line from a freelance actor with a disability.  I speak from personal experience and observation and lay no claim as Spokesperson for Disabled People Everywhere. However, I can share some helpful hints and suggestions.

A Case in Point

Let me begin with a story that illustrates how not to work with a disabled person.

In 1990 I attended a theater workshop in London.  I took care to ensure that both the organizers and my teacher were aware of my disability and access needs (I work from a wheelchair). As I was warming up and stretching out, the teacher approached me, introducing himself, and we chatted.  I inquired if he had any questions or concerns regarding my participation.

"There are no observers in my class," he replied, "only participants."  However in initiating the third or fourth group activity, he told me to, "Stay out of this one - it could get complicated."

I was stunned.  I pulled out of the circle.  As the teacher made similar remarks again (and yet again) Elly, a friend and fellow player, volunteered to sit ourf of any activity I was barred from by the instructor.  When he noticed that she was not taking part, he asked why.

"I'm sitting out of the activities Jaehn is excluded from," she replied.  "Well," he said, "I'd like you to participate and I'll hold her hand if she needs it."

At this point I chose to leave, with Elly close on my heels (or wheels).  I was angered - by his flip remark, his lack of sensitivity and by my own disappointment in him.  I had expected to participate to the best of my ability, but was excluded because of his assumptions that there were things I was unable to do.  He never asked me, he just assumed.  And therein lies the perfect example of Disability Awareness Tip #1: Don't make assumptions.

10 Tips and Taboos

1. Don't make assumptions. If you aren't sure what is physically possible , comfortable or reasonable for a disabled person, ask!
2. Do talk with the individuals involved. Ask us directly when you need information about how we work. Remember, creative e problem solving is part of our daily lives. Be respectful, tactful and honest in making you inquiries.
3. Don't take on too much. Give yourself reasonable, achievable goals in working towards greater accessibility for disabled performers, technicians, musicians, etc.
4. Do use community resources, such as state councils on disability and independent living centers, for assistance in creating access for disabled performers and technicians, such as ramps and interpreters. There are people in your community with information that can aid you - seek them out.
5. Don't behave in ways that might seem patronizing or condescending. Some people have difficulty understanding why I - a paraplegic [person] who uses a wheelchair - object to being patted on the head. However, after I bite the hand, the patting stops. Such behavior is painfully insulting and sabotages the sort of interaction that is at the heart of theater.
6. Do find a way to make disability/diversity awareness part of the process of building the sensemble or production team. Encourage everybody's participation and contributions.
7. Don't get mired down by negatives. Some access-related issues can be difficult to resolve. Push through. Civil and human rights are seldom achieved easily.
8. Do think about the language you use to talk about disability and disabled people. What we say and how we say it (and who we say it to) eloquently expresses our beliefs and attitudes, our thoughts and feelings. Practice awareness.
9. Don't assume that all disabled people have the same needs or motivation. You wouldn't treat non-disabled people that way, would you? Treat each person as an individual.
10. DO remember that you are dealing with people - fellow human beings. Consider how you would want to be treated if roles were reversed.

Another Case in Point

In 1992 I was cast in the Collaborative Theater production of Women: Scenes from Life.  The directing team of two women was very up front and honest in acknowledging their lack of experience with actors on wheels.  They guided, pushed and empathized with me in the process of exploring the physicality of my work within the ensemble, and we successfully integrated my role (or roll...) into a beauty pageant scene (a first for me).  They challenged me as a performer while respecting my strengths, weaknesses and boundaries.

By making space for and honoring my place within the community of the production, they empowered me to render what I feel if one of my finest performances.

Specific Considerations

Accommodations for disabled cast or technical staff will be determined by the nature of each person particular disability.  Always consult with the disabled person first to learn what sort of accommodation he or she may need.

Physically Disabled
Those who use wheelchairs, walkers, canes or crutches may need ramps, elevators, accessible toilet facilities, wider doors and hallways.  Beware of those piles of odds and ends or props that accumulate backstage. Other needs may include accessible rehearsal space, sets and dressing rooms, a specific type of chair or stool height for comfortable seating.  It at all possible, do not segregate disabled actors form the rest of the cast.  Missing out on the backstage environment can be a nhurtful experience.  It also undermines ensemble cohesiveness.

Deaf and Hard of Hearing
Here the accommodations are usually in the area of communication.  Sign language interpreters may be needed and should be scheduled routinely as part of the rehearsal ensemble.  They should be paid out of the production budget.  Professional, registered interpreters should be hired and can be found by seeking referrals form the members of the Deaf community or disabled services organizations.  Remember, there are differences in various sign languages, and skill levels - hire an interpreter with the appropriate skill and experience.  (Interpreting for conversation or a speaker is very different from theatrical interpreting, i.e. performance.  Bear this in mind.)  However you find them, remember that interpreters are there to facilitate communication.  Look at and address the deaf person, not the interpreter.  The interpreter also needs to be placed so that the deaf person can see both speaker and interpreter.  Just as visually impaired people need verbal cues, deaf and hard of hearing people respond to visual cues.  Learning even a few simple signs is a good practice.

Blind or Visually Impaired
These members of your company may require accommodations such as space and tolerance for guide dogs (who are always on duty - please don't treat the dogs as pets).  Other considerations include time (and perhaps assistance to walk through unfamiliar rehearsal and perfromacne spaces in order to pace out the room and learn set and furniture placement; remember not to move things without informing the blind/visually impaired people of the new placment.  Visually impaired actors will also appreciate bverbal sues as to who is speaking until voices become familiar.  Other accommodations include Braille, large print, or tape-recorded scripts (services may be available through societies for the blind), a sighted guide to help them move through difficult scene changes, and verbal cues for lighting changes that may affect them as actors.  Again, check with the individual.

Developmentally Disabled
Physical accommodations may not be necessary, but attitudinal accommodation is.  You may want to consult with the individual, family and friends or appropriate professionals, to determine the capabilities and limitations of the person you're including in your production team.  Communication is essential; be clear in giving directions and take time to make certain they are understood.  Some developmentally disabled people may need extra time to learn lines or blocking, or creative approaches to learning.  Be flexible and patient, while working towards your objective s for the production.

In all cases, you may want to use a "buddy system" to support the individual's efforts and involve the ensemble in the creative solution-finding process.  Theater, after all, is a collaborative process.  Being open to the disabled performer or technician can only enhance that process.

© 1993  Jaehn Clare

People With Disabilities Explain it All For You: Your Guide to the Public Accommodations Requirements of the Americans with Disabilities Act, Mary Johnson and the Editors of The Disability Rag, The Avocado Press, 1962 Roanoke, Louisville, KY  40205, 1992, $15.95; ISBN: 0-9627064-2-4-6

Disability Awareness Guide, Very Special Arts*, Education Office, The John F. Kennedy Center for the Performing Arts, Washington, D.C. 20056

* now VSA arts