...Jennifer Row [email protected] © 2022 by Jennifer Row 2022 Louis Béjart, ca. 1700 90, Bibliothèque-musée de la ComédieFrançaise, Res DES 1 Beja 1 Jennifer Row Decentering Disability Louis Béjart s Crip Social Gain, Onstage and Off Frauds, fakers, charlatans, and hypocrites...

...Jessica A. Watkin Jessica Watkin works out her definition of Disability Dramaturgy and explains her artistic practice, which is rooted in personal care rather than professional extraction. As a Blind/Disabled artist, Watkin describes her relationship to Blind artist Alex Bulmer. Watkin reflects...

...Patty Berne; Nomy Lamm Patty Berne (executive director/artistic director) and Nomy Lamm (creative director) discuss the work of their performance collective and disability justice advocacy group, Sins Invalid. They address their company’s attempts to implement the principles of disability justice...

...Petra Kuppers Petra Kuppers reflects on her work in the crip/mad archive, which explores the work of mad, queer, and disabled predecessors in the fields of dance and performance. Kuppers consider how her personal relationship to therapeutic dance has changed (particularly therapeutic practices led...

... of, by, and for disabled artists. Piepzna- Samarasinha s message of art as survival is a revelatory assertion of the power of poetry in the struggle for disability justice. For the disabled community particularly the black, brown, Asian, and lgbtq disabled community art is not supplemental: it is a crucial tool...

...: January 2020 In January 2020, the Ford Foundation Gallery in New York City commissioned us to cocurate an art exhibition to reflect on the thirtieth anniversary of the Americans with Disabilities Act. We got right to work, excited that the Ford Foundation Center for Social Justice was going to prominently...

... about pleasure and discovery? In the following piece, the full-­length playscript of 3 Bodies, I strive to assert a casual yet potent employment of movement in relation to disability that negotiates expertise and intuition: the expertise of using one s body, the intuition of created disabled...

... and conditions you need to create, generate, and be. This issue is an act of care because it imagines a new kind of future a new kind of theater in which care is centralized and where disabled bodyminds find the conditions they need to flourish, create, and innovate. Within this issue you will encounter...

... essential feature of the theatrical event. But bodies and their many differences have also gone astonishingly unexamined in many crucial respects not least because the American theater has often excluded, ignored, marginalized, or outright exploited disabled artists. The theater would do well to look...

...Andrea Tompa © 2014 by Andrea Tompa 2014 Pichet Klunchun and myself by Jérôme Bel and Pichet Klunchun Premiered at Bangkok Fringe Festival December 2004: Bangkok Disabled Theater by Jérôme Bel and Theatre hora Premiered at Kunstenfestivaldesarts May 2012: Brussels...

...; Zagreb, Croatia Productions and Events Andrea Tompa In France We Already Cut the Heads of the Kings Pichet Klunchun and myself by Jérôme Bel and Pichet Klunchun Premiered at Bangkok Fringe Festival December 2004: Bangkok Disabled Theater by Jérôme Bel...

... and myself by Jérôme Bel and Pichet Klunchun Premiered at Bangkok Fringe Festival December 2004: Bangkok Disabled Theater by Jérôme Bel and Theatre hora Premiered at Kunstenfestivaldesarts May 2012: Brussels The world of French choreographer Jérôme Bel can be viewed as a basic introduction...

... was still adjust- ing to his disabilities resulting from the stroke. Chaikin saw Gardzienice perform Metamorfozy at La MaMa in New York in 2001 and to my surprise was hugely enthusiastic about the piece as well as his subse- quent meeting with Staniewski. I was never able to discover what had...

... with Down syndrome and one actress, Cristina, with an intellectual disability. The words of one individual character are uttered here by a collective. We called for auditions, looking for neurodiverse actors, opening space for the traits that characterize this diversity: the difficulties in vocalizing...

... with emotional or learning disabilities; English-as-a-second-language (ESL) students; the developmentally disabled; homeless kids and incarcerated juvenile delinquents. In addition to general arts-in-education programs, Irondale’s AIDS TEAM is now training young actors to use game and improv...

..., is as comfortable working with highly trained dancers (as in the biographical pieces Veronique Doisneau [2004] and Cédric Andrieux [2009]) as he is with nondancers (Disabled Theater [2012], produced with developmentally disabled actors from Switzerland’s Theater hora). As the critic Franz Anton Cramer notes...

... ing institution for disabled people, suffer- a representative forum of companies in- ing from a variety of conditions ranging volved since the late sixties in developing a from autism to debility...

.... Athol Fugard” (with Gabrielle H. Cody), ibid., p. 70. Resources in Theatre and Disability by William Rickert and Jane Bloomquist, University Press of America, Lanham, MD, - “Peter Brook, Indians...

... a wheelchair. mar Marlena in full. 30s, poc. mal s wife and fellow climber; fiery and witty. She was born with one arm. prentis 60s, poc. A retired daredevil, calculated yet poetic. He recently acquired a spinal cord injury. One Act. Breaks are throughout where both disabled actors and audience can...

... making on the limits of established spaces for art” will inform this work. Kuppers presents a deeply entrenched subject position, which paradoxically proves both illuminating for the reader and restrictive for Kuppers herself. As a person with a disability, as a woman...