Category Archives: Deaf arts

DaDaFest International 2018 and call for artistic uprisings

In celebration of international disability day on December 3rd 2018, I and various guests will be reading from my latest collection The d Monologues at DaDaFest International Festival. This is a particularly meaningful event for me. Apart from being one of the patrons of this brilliant organisation, I am thrilled to be having the English launch of the book on this auspicious day.

The monologues are fictional, but inspired by over one hundred interviews and conversations with disabled and D/deaf individuals across the world over the past decade. The publication includes the Singapore/UK dialogue of difference and diversity And Suddenly I Disappear, an Unlimited International Commission which premiered on both sides of the world earlier this year.

For years I’ve been inspired by Eve Ensler’s ‘V’ Day, where people around the world stage “an artistic uprising” – a global movement to end violence against women. With disability hate crime on the increase, and so many of the rights disabled people successfully fought and campaigned for now being eroded, I feel our visibility needs to increase, along with our ‘voices’.

Engaging so closely with disabled and D/deaf peoples’ lived experience when writing this collection has had a major impact on me. I have tried to reflect the rich, rewarding experience of disabled lives in the monologues, the immense joie de vivre, ingenuity and fuck-you attitude which for me characterises many of my friends and collaborators. I also have not pulled any punches regarding the discrimination and prejudice so many of us face – but all laced with a liberal dose of what I call Crip’ humour.

This December third myself and various leading figures from our culture and community will join me in presenting short monologues at Unity Theatre, in Liverpool. I am hoping that this might be the first in a series of readings, where simultaneously, wherever you may be, people join in celebrating all the possibilities of human variety.

As I write in the introduction:

I’ve always dreamed of an international event challenging negative representations of difference and showcasing the very real talent which exists within our often over-looked communities. The monologue form is portable, flexible, and affordable to stage, either alone or in groups, script-in-hand with little rehearsal, or fully produced in professional contexts. I imagined a chorus of individuals and groups in cities or rural outposts, in theatres or at the kitchen table, in pubs and clubs, hospitals and community centres, schools and colleges, live or live-streamed, coming together across the world in a simultaneous celebration of diversity and what it is to be human. We already have our International Day of the Disabled Person on December 3rd… Perhaps now, with the publication of these texts, we are taking the first actions towards our own ‘d’ day…?

This is a pipe-dream, perhaps – but it is a hope. If anyone reading this would like to stage their own contribution of a ‘d’ Monologue this December 3rd – at their kitchen table or somewhere more public – please let me know – for even if we can’t yet connect or livestream, I could announce the performances happening simultaneously at the event. I already have contributions from my collaborators in Singapore… If this idea appeals, please get in touch through a comment, below, or via the contact button on my website: http://www.kaiteoreilly.com

And if you are in the Liverpool area, come along – the event is free and information and tickets can be booked here. In addition to BSL interpretation, a lipspeaker will be available.

The ‘d’ Monologues launch: 8:00pm Monday 03 December 2018

Unity Theatre,  

1 Hope Place, Liverpool, L1 9BG  

Telephone: 0151 709 4988

https://www.dadafest.co.uk/event/kaite-o-reilly-s-the-d-monologues

A project supported by Unlimited with funding from Arts Council Wales.

The d Monologues published by Oberon

It’s been quite an autumn, and the leaves are still burnishing the trees… September has been a blaze of touring, festivals, and launches. My Unlimited International Commission And Suddenly I Disappear: The Singapore/~UK ‘d’ Monologues premiered at the Southbank Centre in London prior to a whistle-stop tour taking in Leicester, Oxford, and Cardiff, garnering 4 and 5 star reviews along the way – more of which in a future blog.

The Llanarth Group brought richard iii redux to Grenzenlos Kulture Festival in Mainz, Germany, where I launched my latest publication after the performance.

The d Monologues is the culmination of ten years work, featuring solos I have written specifically for Deaf and disabled performers, varying in length from audition-size 3 minutes monologues to the 70 minute one woman show richard iii redux co-written with Phillip Zarrilli. Monologues from my recent international collaboration are included in the book: And Suddenly I Disappear, along with In Water I’m Weightless, my Cultural Olympiad production with National Theatre Wales, featuring extended, new, unperformed and previously unpublished monologues. It also has A Preface in Three Voices, written by John E McGrath, Ruth Gould and Jo Verrent. Below, an excerpt from the introduction.

For a limited time, the collection is available from the Oberon website with a 30% discount, using code DMONO30

The ‘d’ Monologues by Kaite O’Reilly.

 from The Introduction

I like to think of theatre as a place of communication and exploration, of dissent and inquiry: a place of dreaming, of solving, of challenging the present and imagining the future. It’s that communal place where we can express all the possibilities of what it is to be human – so why are the majority of representations still so limited in scope and variety, and the potential of those bodies so prescribed?

I have been angry most of my life. Identifying as a working class Irish immigrant disabled female creates a certain kind of friction, a blistering energy I’ve found best directed into creative pursuits. Some years ago, somewhere along my raging, cursing way, I encountered Gandhi’s advice about being the change you want to see, and so the project The ‘d’ Monologues was born.

These collected solos are the culmination of a decade’s work trying to instigate change through writing work specifically for D/deaf and disabled actors, ‘answering back’ to the largely negative representations of difference in our media and the Western theatrical canon.

Since the Ancient Greeks disabled characters have appeared in plays, but rarely have the writers been disabled or written from that embodied or politicised perspective. The vast majority of disabled characters in the Western theatrical canon are tropes, reinforcing limited notions of what it is to be ʻnormalʼ rather than broadening the lens and embracing all the possibilities of human variety. So prevalent is the atypical body in our stage and TV dramas, the audience(s) assume they know and understand the realities of disabled and D/deaf individuals’ lives, yet few of these narratives are informed by lived experience, and so misconceptions and ableist notions of difference, shaped by the medical and charity models of disability, are reproduced and reinforced.

I wanted to make work solely for disabled and D/deaf performers, informed by the social model of disability. Like gender, I believe that disability is a social construct, and it is the physical and attitudinal barriers which disable us, not the idiosyncrasies of our bodies.

This collection is the culmination of ten years work, with fictional monologues inspired by over 100 interviews, conversations, and interactions with D/deaf and disabled individuals internationally. It brings together new and previously unperformed texts alongside monologues from In Water I’m Weightless (National Theatre Wales/Cultural Olympiad 2012), the 70 minute one woman show richard iii redux, and the multilingual, intercultural And Suddenly I Disappear.

I’ve always loved the notion of disabled and D/deaf performers all over the world presenting with pride and political urgency performance texts which did not reduce them to parodies, metaphors, villains, or inspiration porn stars – different narratives using alternative dramaturgies, theatre languages and channels of communication. These texts did not exist, so following Gandhi’s advice, I decided to be the change I wanted to see.

To buy the collection with a 30% discount, go here and enter the discount code DMONO30 at check out. This code is available for a limited time.

‘I write disabled characters who aren’t evil, piteous, or helpless.’ Read an interview with Kaite in The Guardian Society here

 

And Suddenly I Appear: : Reflections on a disabled-led creative process By Nur Shafiza (Shai).

Nur Shafiza (Shai) writes about working as Creative Captioner with Unlimited commissioned artist Kaite O’Reilly on the Singapore world premiere of ‘And Suddenly I Disappear’ (May 2018). She also reflects on the impact this experience and being mentored by O’Reilly as dramaturg and disability advisor has had on her own wider work.

Self-portrait, Nur Shafiza (Shai).

Working as a creative captioner on the Singapore production of Kaite O’Reilly’s Unlimited International commission And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues was an insightful process for me. Premiering in Singapore in May 2018, it truly sensitized me to how much access is a basic human right. Captioning for theatre productions is not new to me but captioning inclusively and creatively for D/deaf audiences meant that I had to learn the visual demands of Deaf culture. This entailed incorporating specific details when captioning for D/deaf audiences such as use of different colours, fonts, sizing etc.

While our caption design was catered to D/deaf audiences, the aesthetics of access utilized meant that the captions served to be equally functional and visually pleasing for hearing audiences. This is especially telling as we had hearing audience members complimenting us on the captions in the post-show discussions. In my prior experience as a captioner, I would occasionally hear complaints on how captions are distracting and annoying for hearing audiences who would prefer not to have them.

As a creative captioner, I also learnt how to present text visually in a more evocative and poetic manner. This includes playing with the line breakages in the text, transition effects and even removing punctuation. Captions became not just perfunctory but a real visual treat with the right treatment.

Having learnt the aesthetics of access reminds me, as a theatre maker and a captioner, there is more than one way to receive the show, just as there is more than one way to process the world. We don’t always have to insist that one convention is better or right. We can equally co-exist and make space for each other’s needs if we take the time to meet in the middle. Access is a universal right.

As an Emerging Writer 

Working with Kaite O’Reilly as my dramaturgy and disability advisor has forced me to be aware of my own privilege as a writer/dramaturg who is newly stepping into disability arts. Through the process of writing several drafts for Project Tandem (a Singapore-based initiative developing D/deaf and disabled theatre practitioners, led by Peter Sau), I have had to question myself on my writing choices and thought process.

Why am I portraying disabled persons in such a way? What impression does that reinforce or challenge for audiences? What is the hidden assumption behind my selections from the verbatim text I am using? What are the ethics of using verbatim texts? What does it mean for a work to be disabled led? By what markers do we measure this notion of normal or even disability?

Working alongside actors and artistes with disability in the co-writing process also led the way for me to also really understand and appreciate what it means to create a space for the disabled community to tell their stories. I developed greater empathy and used active listening in order to capture not just their story but their voice in the dramatic script. Being aware of my own thinking processes has allowed me to arrest and side step my own unconscious biases towards disabled persons and assumptions I may have made in my own writing.

On top of that, the practice of removing any mention of a person’s physical condition in my writing was the most impactful for me. By purposefully avoiding the medicalization of the body, the creation of the stories and the shaping of the storytelling was at its most powerful. I began to realize that the drama is not the disability. It is simply in the human condition and experience. Coming to this realization was by far, the single biggest change in the way I approach, process and write my material.

Post- And Suddenly I Disappear (ASID)

The Singapore world premiere of Kaite O’Reilly’s And Suddenly I Disappear (with a UK premiere  and tour in September 2018),has demonstrated how disability can begin to take its rightful place in theatre simply because being disabled is part of human existence. I cannot think of another recent Singaporean production that uses actual disabled actors in a production with content that is disabled led. However, ASID is not just a show about disability led by the disabled – it is universal enough to be received by all audiences.

Kaite’s dramatic monologues calls out and draws attention to “cripping up”- a practise in some of our local theatre companies in Singapore. It also normalizes the everyday lives of disabled persons by refusing to exoticize and objectify persons with disabilities as an Other – neither to be repulsed by nor revered through the lens of the charity, medical or inspirational models of disability. It dares to question and critique how we are representing and treating persons with disabilities by showing that we can create stories that do not need the tired stereotypes of disability we unconsciously fall back on.

The conscious process of enabling access in all areas of production – from the act of ticket buying (a pioneering platform was created by Singapore producers Access Path Productions), ensuring access to the show venue and all the way to employing disabled performers, incorporating the aesthetics of access within the show and the careful creation and curating of stories by distinguished playwright Kaite O’Reilly – has expanded the creative norms and set new artistic standards in Singapore.

By demonstrating not just what can be done on stage but off stage as well, it leads the way and opens up productive discussions for inclusive practices that other theatre companies can adopt and incorporate in their own creative process. Four sold out shows and very engaging post-production talks informs them that it makes both creative and financial sense to begin incorporating inclusive practices for D/deaf and disabled audiences.

And Suddenly I Disappear may very well be a game changer in an industry and society where change can be slow. It may take some time and tremendous effort for other players in the theatre industry to see the value of having access and inclusive practices in all areas of production, but I believe we have already created the space for the paradigm to shift.

And Suddenly I Disappear: The Singapore ‘d’ Monologues premiered at Gallery Theatre, National Museums Singapore, in May 2018, directed by Phillip Zarrilli, produced by Access Path Productions, with a cast of Singapore and UK-based disabled and Deaf performers.

Singapore poster

The UK ‘sister’ production –with new monologues and guest performers, but the same core UK and Singapore-based cast premieres at Southbank Centre’s Purcell Room as part of the Unlimited Festival, 5-6 September.
It tours to:
Old Fire Station (Oxford) on 8 September
Attenborough Arts Centre (Leicester) on 9 September
Chapter Arts Centre (Cardiff) 11 -12 September
Video-trailer and details:  https://vimeo.com/272958421
Kaite O’Reilly’s The ‘d’ Monologues will be published by Oberon in September 2018.

Alchemy in production week and technical rehearsals

Ramesh Meyyappan and Phillip Zarrilli in tech rehearsal ‘And SuddenlyI disappear: The Singapore ‘d’ Monologues.’ Photo: Kaite O’Reilly

Weirdly, I love technical rehearsals. I say ‘weirdly’ as it is often a very stressful, time-consuming, boring, tiring twelve hours in the dark, with people shouting at you….. (Actually, they’re shouting – and signing, lit with torches – to ensure the safety of those on stage when Dorothy Png, our lighting designer extraordinaire yells ‘Stage dark!’ and we’re plunged into blackout…).

I love tech’ because that’s the moment is all starts coming together – the time when my script stops being ‘mine’ and a script and becomes instead performance – alive in peoples’ mouths and hands. It’s the time when ideas originally communicated in writing on paper, and then reinvented via the director’s approach, transforms and becomes a living collaborative act.

This week I sit in the Gallery Theatre of National Museums Singapore and witness the alchemy of a production coming together…. I’ve been familiar with the performers’ work – but it shifts and takes on a new vibrancy once the lighting,  sound design and videography come into play.

Stephanie Fam performing in Kaite O’Reilly’s international Unlimited commission ‘And Suddenly I Disappear… the Singapore ‘d’ Monologues. Photo: Kaite O’Reilly

This week is also one of interviews and engagement, with the national newspaper, The Straits Times, featuring an (inaccurate at times) interview with Singaporean collaborator Peter Sau and myself. I’m gratified that the arts correspondent Akshita Nanda focused on my desire in the monologues to challenge notions of normalcy and embrace all the possibilities of human variety. Many of these notions are quite new to Singapore, which largely follows the Charity model of disability. Although the UK is far from perfect and has been going backwards in recent years, I have been privileged to be part of the UK’s disabled peoples’ movement and our Deaf arts and disability culture for almost thirty years. My work in the ‘d’ monologues is informed by the Social model of disability, perceiving disability as a social construct, rather as gender, and that it is society’s physical and attitudinal barriers that disable, not the idiosyncrasies of our bodies.

Interview in Singapore Straits Times

This past week has also involved public talks, workshops and engagement around disability awareness training. I’ve given three workshops to the ‘front line’ staff of National Museums Singapore – those engaging with the public, from security guards, to the ticket and information desk, ushers and volunteers. I’ve enjoyed this engagement hugely, warmed by the genuine interest of the participants, keen to dialogue and share perspectives on how we can make the venue as barrier-free as possible, for all. I also love the mischief of walking through the museum, greeting the curators and security guards by sign name…

Sadly, all too quickly, this remarkable project will pass… We open this week, and close this Sunday – and tickets have almost completely sold out throughout the run, thanks to the sterling efforts of our producers and and all involved in bringing this international collaboration to the Singapore theatre-going audience. We will be bringing a version of this work to the UK in the Autumn – announcements of that tour will follow.

As I revel in the dark intricacies of technical rehearsal, I hope this is the start of vibrant, home-grown disabled and Deaf-led professional theatre work in Singapore. Very exciting times….

 

A rehearsal photo diary

We gather speed, hurtling down towards our opening next week.

Daniel Bawthan in rehearsals. Photo by Shai

Shai, our captioner, captured images of the working rehearsal at our new rehearsal space last night.  We have finally moved into National Museum Singapore,  where we will have the world premiere of And Suddenly I Disappear: The Singapore ‘d’ Monologues on May 25th in Gallery Theatre.

Cast in rehearsals ‘In a Row’ Photo: Shai

I have written a series of monologues, which we are presenting in a variety of ways, across spoken, projected and visual languages. The theatre style is shaped by the aesthetics of access, where we are using ‘access tools’ creatively, as an integral part of the work rather than an ‘add on’ – part of the theatre languages at play.

Evelyn our SgSLI at work with director Phillip Zarrilli. Photo: Shai

Last night, we experimented with the audio description to be used during a silent  eight minute sequence our visual language director, Ramesh Meyyappan, has created. Working with Lee Lee Lim, one of our guest performers who is visually-impaired, we have been striving to find the balance between Deaf culture and hearing culture – not overwhelming the visual language sequence with spoken word, but not leaving our VI audience in mystified silence, either…

Ramesh Meyyappan. Photo by Shai

It has been a fascinating dialogue and learning opportunity for all as we create an ensemble piece together – and one that is Deaf and disabled-led, a first for Singapore.

Writer and Stella, stage management, conferring over audio description text. Photo by Shai

Tickets now available….

 

Time to Kill All Your Darlings…

David Mamet had it when discussing various uses of the knife…. Cut, cut, cut and kill all your darlings….

It’s not a phrase known amongst the And Suddenly I Disappear: The Singapore ‘d’ Monologues team, so I had to explain I wasn’t about to commit bloody murder, but start sharpening the editing pencil and serving the script….

And Suddenly I Disappear is a collection of fictional monologues informed by the lives of disabled and d/Deaf people in Singapore and the UK. My colleague Peter Sau with Lee Lee Lim led the interviews in Singapore, collecting experiences and perspectives never previously recorded here. I led the UK interviews and questionnaires, starting almost a decade ago. This material has inspired the monologues I’ve created, but as I believe we are our stories, I haven’t used anyone’s words or experiences, for that would feel too close to theft for my comfort.

Lee Lee Lim making adjustments to her braille script

We are now in the second week of rehearsals in Singapore, and I’m only now in the position to be able to start testing the material, cutting the surplus and sensing the flow as the performers become more familiar with the text. I tend to over-write, something I would always encourage other writers to do, for it is far easier to nip and tuck in rehearsals than suddenly be faced with the daunting task of filling a yawning hole in the script. The stage management team and I are trying to keep on top of the changes – and I was impressed by the speed and dexterity of Lee Lee Lim, making adjustments to her braille script in rehearsal.

The production is a series of discrete monologues presented in different ways and form, some character-based, others choral and collective, some individual stories intercut to create a mosaic of experience, and yet more are without spoken words. Ramesh Meyyappan has created a sequence in visual language which now requires audio description, so today we started exploring possibilities, trying to ensure the spoken word did not dominate.

Grace Khoo and Ramesh Meyyappan – in rehearsals for And Suddenly I Disappear,,, The Singapore ‘d’ Monologues

It is an on-going process, using the aesthetics of access, using tools creatively rather than as a simple ‘add on’. Captioning, visual language, and integrated audio description are shaping the aesthetic and the performance style of this Unlimited international collaboration. It is an immensely exciting dialogue, and one that I hope will go on for quite a while…

Meanwhile, it’s back to the now heavily marked and crossed-out script in search of further darlings to excise….

 

Hong Kong, Singapore, Womenspire 2018!

Mid April already, richard iii redux completed for the time being after a terrific Wales-wide tour – and now far-flung travel beckons. I leave next week for Hong Kong, where I will be leading a six day workshop on inclusivity and forms of storytelling for ADAHK

I was last in Hong Kong in 2016 with my performance text about Frida Kahlo, the 9 fridas, directed by Phillip Zarrilli and produced for the Black Box International Festival at Hong Kong Repertory Theatre, in association with Mobius Strip, from Taiwan.  It will be fascinating to spend more time in Hong Kong working with local theatre practitioners, learning about their approaches to inclusive practice. I’m hoping to have an opportunity to see new work as well as explore the art centres and galleries of Kowloon, where I will be based.

From Hong Kong I will fly directly to Singapore, to begin rehearsals on my Unlimited International Commission And Suddenly I Disappear: The Singapore ‘d’ Monologues. We have just released tickets for the World premiere of this dialogue about difference, disability and diversity from opposite sides of the world, premiering on 25 May 2018 at National Museum of Singapore Bit.ly/and suddenlyidisappear

The production will tour to the UK in September, and I will give further details of the venues in England and Wales, plus special guests, closer to the time. My thanks, as ever, goes to our funders and supporters: Unlimited, Arts Council Wales, and the British Council, who alongside Singapore International Foundation and Centre 42 will make this innovative intercultural project possible. Meanwhile, here’s the glorious video featuring Sophie Stone, Ramesh Meyyappan, Sara Beer, Peter Sau, Grace Khoo and Lee Lee Lim, made by James Khoo with director Phillip Zarrilli:

.

I was wonderfully surprised earlier this week to get an email from Chwarae Teg, informing me I had been shortlisted for their Womenspire 2018 Awards. Chwarae Teg is a charity working to redress the gender balance in the workplace in Wales, with a vision to create: “A Wales where women achieve and prosper.” I didn’t know I had been nominated for the Culture award, so to discover I’ve made the shortlist of four has been an incredible pleasure and privilege, making this quite a week. I’ll be celebrating the talent, passion, and vivacity of women in Wales at Womenspire 2018 at the Wales Millennium Centre on 5th June.