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- Book (owned)
- Chapters X X look particularly relevant

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The handbook of art therapy and digital technology

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The handbook of art therapy and digital technology

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(Anna Woolf review for JAAH)
Cathy Malchiodi
"Technostress" useful concept here for practice

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Disability and Contemporary Performance: Bodies on the Edge

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Disability and Contemporary Performance: Bodies on the Edge

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- Petra Kuppers

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Disability and Contemporary Performance presents a remarkable challenge to existing assumptions about disability and artistic practice. In particular, it explores where cultural knowledge about disability leaves off, and the lived experience of difference begins. Petra Kuppers, herself an award-winning artist and theorist, investigates the ways in which disabled performers challenge, change and work with current stereotypes through their work.

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Petra Kuppers

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(2001). Deconstructing images: Performing disability. Contemporary Theatre Review: Vol. 11, No. 3-4, pp. 25-40.

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Modeling Disability: Softly Making the Invisible Visible

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Modeling Disability: Softly Making the Invisible Visible

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PDF (saved)

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Modeling Disability_ Softly Making the Invisible Visible

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Abstract

Disability in performance has a long history, starting with fictional characters such as Shakespeare's Gloucester/Richard, progressing through the freak shows of the early twentieth century, and finally with artists such as Neil Marcus, Mat Fraser and Deaf West Theatre in the past twenty years. Looking to the work of disabled artists, activists, and theorists such as Petra Kuppers and Carrie Sandahl, I will examine the history of both disability in performance and the performance of disability. I will discuss my performance of Garret, a man with muscular dystrophy, in my original play, The Sick Parents Club. Through analysis of what playing a disability means both emotionally and physically, I will seek to answer the questions: How can an actor play a disabled character without defining them by their disability? Is it possible for a normative-bodied actor to approach authenticity playing a character with a disability?

Notes

If this is your thesis or dissertation, and want to learn how to access it or for more information about readership statistics, contact us at STARS@ucf.edu

Degree

Master of Fine Arts (M.F.A.)

College

College of Arts and Humanities

Degree Program

Theatre; Acting Track

Identifier

CFE0008030; DP0023170

URL

https://purls.library.ucf.edu/go/DP0023170

Length of Campus-only Access

None

Access Status

Masters Thesis (Open Access)

STARS Citation

Romano, Daniel, "Playing Disability" (2020). Electronic Theses and Dissertations, 2020-. 124.
https://stars.library.ucf.edu/etd2020/124

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Disability in performance has a long history, starting with fictional characters such as Shakespeare's Gloucester/Richard, progressing through the freak shows of the early twentieth century, and finally with artists such as Neil Marcus, Mat Fraser and Deaf West Theatre in the past twenty years.

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IFTR performance and disability working group 2019

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IFTR performance and disability working group 2019

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This submission by IFTR's Performance and Disability working group features responses by six participants - voices projected from Canada, New Zealand, Norway, Wales, England and Australia - to Per.Art's production Dis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group. Per.Art is an independent theatre company founded in 1999 in Novi Sad, Serbia, by the internationally recognized choreographer and performer Saša Asentić, the company's artistic director. The company brings together people with learning disabilities, artists (theatre, dance and visual arts), special educators, representatives of cultural institutions, philosophers, architects and students to make work. This co-authored submission examines how the production responds to three important dance works of the twentieth century - Mary Wigman's Hexentanz (1928), Pina Bausch's Kontakthof (1978) and Xavier Le Roy's Self Unfinished (1998) - to explore normalizing and normative body concepts in dance theatre and in society, and how they have been migrating over the course of dance histories. The shared experience of witnessing the performance provoked discussion on the migration of dance forms across time and cultures, as well issues of access and (im)mobility, which are especially pertinent to a disability studies context.

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Responding to Per.Art's Dis_Sylphide - Porth Ymchwil Aberystwyth

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This submission by IFTR's Performance and Disability working group features responses by six participants - voices projected from Canada, New Zealand, Norway, Wales, England and Australia - to Per.Art's production Dis_Sylphide, which was presented on 7 July 2018 at the Cultural Institution Vuk Karadžić as part of IFTR's conference in Belgrade at the invitation of the Performance and Disability working group.

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The kid from outer space

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https://www.versusarthritis.org/media/21919/annual-report-18-19.pdf