Category Archives: on process

Some thoughts on the short story…..

I have an addiction which I have already owned up to in public: I’m addicted to quotations, to the bon mot. I love reading what others have written/said about form, style, narrative, content… I collect ‘sayings’, advice to writers, and reflections on a form. Although I’m primarily a playwright, I also write in different forms and for different media (radio drama, film) and when working in a particular genre, I avoid reading for pleasure in that style. There’s always a fear that unconsciously I’ll absorb or be influenced by what I’m reading, so I mix it up – read creative non-fiction when writing plays, short stories when screenwriting, poetry when digging deep into prose. Influence and inspiration may of course follow, but at least if I’m trying to write short stories, I’m not going to come out sounding like Raymond Carver.

When I’m really flat-out and focused on completing a project, I by-pass it all and read about reading and writing. So in celebration of this literary nerdiness, here are some quotations from Lorrie Moore to William Faulkner about that robust but most delicate of form, the short story:

“Find the key emotion; this may be all you need know to find your short story.”  F. Scott Fitzgerald

“One has to imagine, one has to create (exaggerate, lie, fabricate from whole cloth and patch together from remnants), or the thing will not come alive as art… A story is a kind of biopsy of human life. A story is both local, specific, small, and deep, in a kind of penetrating, layered, and revealing way.” Lorrie Moore

“A short story must have a single mood and every sentence must build towards it.” Edgar Allan Poe.

“The novel…creates a bemusing effect. The short story, on the other hand wakes the reader up. Not only that, it answers the primitive craving for art, the wit, paradox and beauty of shape, the longing to see a dramatic pattern and significance in our experience.”  V.S.Pritchett

“A good [short story] would take me out of myself and then stuff me back in, outsized, now, and uneasy with the fit.” David Sedaris

“Short stories do not say this happened and this happened and this happened. They are a microcosm and a magnification rather than a linear progression.” Isobelle Carmody

“A short story is the nearest thing I know to lyric poetry… A novel actually requires far more logic and far more knowledge of circumstances, whereas a short story can have the sort of detachment from circumstances that lyric poetry has.”
William Faulkner

“A short story is a love affair; a novel is a marriage. A short story is a photograph; a novel is a film.” Lorrie Moore

 

Cosy at Cork Midsummer Festival June 2019

Finally delighted to reveal…..

‘Cosy’ at Cork Midsummer Festival 2019.

The cast of ‘Cosy’. Cork Midsummer Festival 2019

Kaite O’Reilly’s darkly comic play combines an unflinching examination of our attitudes to youth, ageing, and death in an often hilarious and moving encounter between three generations of women.

“It’s like I’ve disappeared. I walk down the road and throw no shadow.”

“That’s what getting older does for you.”

Rose wants an exit plan that is bold and invigorating, but her three warring daughters have other ideas. We all have to die, but what makes a good death? Everyone seems to have an opinion: Rose’s daughters, her precocious granddaughter and even the strange Welsh woman taking refuge in the garden.

8.00pm

Firkin Crane, Cork

Book here

Supported by an Arts Council Project Award., CIT Arts Office, UCC Department of Theatre, CIT Cork School of Music, Civic Trust House, Suisha Inclusive Arts, and The Guesthouse. 

KAITE O’REILLY AND PHILLIP ZARRILLI, IN CONVERSATION WITH SEAMUS O’MAHONY
Crawford Art Gallery (lecture theatre)
21 June | 5.30pm

Join playwright Kaite O’Reilly and director Phillip Zarrilli of Gaitkrash Theatre’s Cosy, receiving its Irish premiere as
part of Cork Midsummer Festival 2019, as they discuss our attitudes to end-of-life scenarios with Seamus O’Mahony,
writer of the award-winning book The Way We Die Now. Has our society lost the ability to deal with death? Join the
conversation as the three guests reflect on their work and the last great taboo: dying.

Book here

Singing the Old Bones – a workshop with Kaite O’Reilly 7th September 2019

Singing the old bones –  new stories from ancient texts. 
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Revisiting older stories can be a masterclass in narrative. Myths, fairystories, epics from Ancient Greek drama and the oral tradition survive as they seem to speak to each age anew. These archetypal characters and narratives inspire and invite constant reinvention, yet the old bones remain true. In this practical workshop we will retell, remake and renew, participants exploring individual perspectives on timeless themes, reshaping ancient tales to illuminate something contemporary. The tutor, Kaite, is a repeat re-teller, creating to date three very different performances on the story of Blodeuwedd from The Mabinogion, and a new version of Aeschylus’s Persians,the oldest verse drama in the Western tradition, which won The Ted Hughes Award for New Work in Poetry.
We ask participants to come with a myth, fable, ancient drama or story, which we will use to explore the fundamentals of story making: theme, structure, setting, dialogue and character. Through examples of Kaite’s diverse approaches to reinventing existing texts, we will make our own, sparking a new cycle of telling and retellings, seeding work which could be developed further beyond the masterclass.
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Workshop 2-5pm on 7th September 2019, £25.
Small World Theatre | Theatr Byd Bychan
Cardigan | Aberteifi, SA43 IJY
Booking:
sam@smallworld.org.uk
01239 615 952
smallworld.org.uk
twitter: @theatrbydbychan
Numbers are limited and already almost sold out, but plans are afoot for a further workshop/event in November 2019 at the same venue. Further details will follow.
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After the workshop:
Launch of ‘Persians’ Kaite O’Reilly’s new version of Aeschylus’s classic verse drama. 6pm. Free entry.
Aeschylus was a soldier-playwright involved in the battle of Salamis in 480 BCE, when the vastly out-numbered Greeks defeated the might of the marauding Persian Empire. This exploration of the pity of war from the point of the view of the defeated is an extraordinary feat of compassion, and the oldest existing text in the Western theatrical canon. Kaite wrote her new version for Mike Pearson’s site-specific production on Ministry of defence land in the Brecon Beacons for National Theatre Wales’s inaugural year. Revised and reinvented, it won The Ted Hughes Award for New Works in Poetry and is published by Fairacre Press.
Kaite will read from the verse drama and speak about the historical and contemporary contexts of this extraordinary text. There will be a book signing after the reading and launch.
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“In her version of Europe’s oldest dramatic poem, a requiem to a nation’s dead in a reckless, fruitless war, Kaite O’Reilly chooses the iambic drumbeat of English blank verse, and a long-lined lyricism that befits an epic lament. The language is modern, the word-music timeless… In this powerful translation, the three voices of the Chorus tell the tragic story in a breathless song of mourning that insists on being heard….”  Gillian Clarke.
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I will be making a ‘reveal’ of the cover and details of this publication after Easter… have a restful and creative time.

What a week! Award nominations, reviews, publications and research and development….

It’s been quite a week…..

On Monday we learned my Unlimited international commission And Suddenly I Disappear: The Singapore/UK ‘d’ Monologues has been nominated for Best Ensemble at The Singapore Theatre Awards. This is wonderful news, particularly from a disability perspective and regarding inclusivity. Many of my collaborators from Singapore (such as the fabulous Steph, below) were emerging performers, appearing in this first ever all Deaf and disabled-led project in Singapore, directed by Phillip Zarrilli and produced by Access Path Productions. For the quality of the work to be recognised so quickly and so publicly, is a real triumph, regardless of the actual final ‘results’. Those of us who are ‘veterans’ of the UK’s disability art scene (including Sara Beer – also performing in the ensemble) have been hammering on the doors to be given access and opportunity for DECADES. Things are changing in the UK, as across the world, but it is gratifying that this international collaboration – the first of its kind in Singapore – is included in the nominees for this award. The salty old crip’ cynic in me would say award nominees are usually non-disabled actors ‘cripping up’ to play a disabled character. It’s satisfying that for once Deaf and disabled actors are being nominated for playing a variety of ensemble characters (and not a Tiny Tim in sight).

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

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The week proceeded with a terrific review of my forthcoming publication –  Persians – with Fair Acre Press. National Theatre Wales originally commissioned this new version of Aeschylus’s masterpiece – the oldest extant verse drama in the Western theatrical canon – for Mike Pearson’s site-specific performance on MOD land. The verse drama will be released later in the Summer, and I can’t wait to reveal the glorious cover, featuring several of the performers from the original production, in a special blog later this month. Meanwhile for the curious, a thumbnail of the cover is included in Liz Jones’s New Welsh Review critique of the text, reworked as poetry for publication, here.

Most of the week was spent in Cork, in an r&d with Gaitkrash. I’m not allowed to say too much at present, and apologies for being enigmatic…

I returned back to Wales in the early hours of this morning, reading further positive comments about Taking Flight Theatre Company’s production of my play peeling, which is currently touring. It’s in Manchester tonight, and other dates in Wales and Oxford over the next few weeks, finishing this leg of the tour on May 4th in Cardiff. Both The Stage and The Guardian gave the production (directed by Elise Davison) sparkling four stars reviews. Details of the tour can be found here.

The cast of Taking Flight Theatre Company’s production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera/Raquel Garcia

Finally, this morning I woke to a review of my collected monologues The ‘d’ Monologues in Wales Arts Review. Reviewer Tomos Morris and I met last month  over a cup of green tea for an interview for The Cardiff Review, out later this month. I’m delighted Tom’s extensive research has been put to good use in his critique, which you can read here.

Meanwhile, the fire is burning, the bottle of wine uncorked and a few hours of relaxation beckons….

 

The writer as listener

Read-through of ‘Cosy’ by Kaite O’Reilly. Winter 2018, Cork. GaitKrash

The person in a rehearsed reading studiously not looking at either the words on the page or the actor speaking, is invariably the writer. As in the photograph above, we are often unconsciously posed like The Thinker, fist to face, gazing out into the middle distance, apparently in a very different space than anyone else in the room. We don’t need to look at the script because we wrote it and so know it already. We don’t need to look at the performer as this is a reading and so we are listening to the rise and fall of the tempo-rhythm, the musicality of the language,  the dynamic.

I was given this photograph today by director Phillip Zarrilli. It depicts me amongst the cast of the forthcoming GaitKrash production of Cosy for the Cork Midsummer Festival, 2019. Originally taken during the first read-through last November, never before I have seen so clearly the different roles and relationships of collaborators during this particular part of the creative process. Fanciful, perhaps, but here is the writer as listener, attention pinned to the cadences of the script riding the air; here is the writer with her eye fixed on some imaginary screen, ‘seeing’ the potential future production.

I never follow the lines in a script in a read-through. I will balance the open script on my knee, turning the pages as the performers do, so if I suddenly have a query about anything I hear, I can immediately locate it on the page and make a note. I find following the text on the page as the actors read counter-productive. The words and letters are familiar. It’s likely I’ve seen them scores of times, if not more, and a certain distance and freshness comes when my face is angled away from the page and out into the space. I have never reflected on this process before, nor asked if it is the same for other dramatists. I have, however, heard of novelists who say they read their work aloud to check its flow and sense. Dialogue in plays is of course made specifically for the living voice, so perhaps it makes complete sense to put away the words and focus on listening.

“Everything in writing begins with language. Language begins with listening.” –Jeanette Winterson

I am immensely excited to be returning to Cork this week, flying over with performer Sara Beer and director Phillip Zarrilli for an r&d. Sara is the only member of the cast not based in Cork. She was in the Welsh premiere of Cosy in 2016 and will reprise the same role as outsider Maureen. The other cast members will play three generations of the same family – an all female cast with playing ages from 16 to 76. I will be working on the script with the company, revising it so it is Cork-based.

I suspect there will be a lot of gazing into the distance. And listening.

 

 

peeling reviews and unpeeling process

Taking Flight production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera

It’s been a week of peeling and unpeeling…. My play peeling headed off on tour in Taking Flight Theatre Company’s commended production, while performer and maker Gemma Prangle and I started unpeeling the creative process as part of her professional development from Arts Council England.

It was a few days of experiment for Gemma as I set her various writing tasks, working across a wide spectrum of styles including stimulating text to generate movement and physical scores. Phillip Zarrilli gave some vocal exercises and directorial advice as we workshopped Gemma’s starting points. I love this kind of work, where I’m part-dramaturg, part-tutor and part-mentor, and especially when, as in this case, the fruits of the explorations are exciting and filled with promise. I sent Gemma off with a series of further exercises to continue developing her considerable writing skills. I can’t wait to see what she’s going to create next.

During the excitement of exploration in the studio this week, there was also the excited gratification of positive critical responses to Elise Davison’s new production of peeling.

One of the greatest pleasures of being a playwright is the privilege of seeing other imaginations at work on your creative impulses. For Taking Flight’s new manifestation, I updated my script, not the first time I have revised the text. The play was originally written in 2002 for Jenny Sealey and Graeae, remounted in 2003 for Edinburgh and a European tour. I adapted it for BBC Radio 3 in the same year, co-directed by David Hunter and Jenny Sealey. A further production (Kirstie Davis for Forest Forge Theatre company) toured nationally in 2011, and there has been countless rehearsed readings in the US. Although I feel immensely privileged in having such a positive response to what in effect is an old play, I am also saddened that the issues of conflict, women’s autonomy over their own bodies and the problematic representation of difference in our theatres are as relevant as ever. When I set out on writing this play at the start of the new century and millennium, I never thought it would take so long for equality and diversity to reach our stages, if not our societies. The continued and increased interest in this play, particularly for its use of creative access, and the way I embedded audio description and sections of bilingualism (spoken/visual/projected language) into the fabric of the script, is therefore bitter-sweet. However, I congratulate Elise Davison and Beth House of Taking Flight and all the brilliant women whose talent, imagination and determination have brought this “fierce and funny” production to new audiences now.

The Guardian and The Stage reviews follow:

Ruth Curtis in Taking Flight’s production of ‘peeling’ by Kaite O’Reilly. Photo: Janire Najera

Fierce and funny trio storm the stage in vulva gowns – 4 stars. The Guardian review.

Alfa, Beaty and Coral are three deaf and disabled performers taking part in the chorus of a grandly titled four-hour postmodern epic, The Trojan Women: Then and Now. We watch while they sit and wait for their cues, talking, gossiping and exchanging confidences. Paused in the shadows while the “real actors continue with the real play”, they are defined and limited by the actions and designs of men, who are always offstage, elsewhere.

Elise Davison’s revival of Kaite O’Reilly’s play, originally staged in 2002, is fiercely clever and uncompromising. It packs in far more rhetorical audacity, theatrical richness and complexity of ideas than its 90-minute length would suggest. Often scathingly funny, Peeling is an accessible production that provocatively questions what is being made accessible, for whom and how. Who benefits from including a deaf and disabled ensemble, if the dressing rooms are inaccessible?

Initially appearing in vulva-embroidered ball gowns, designed by Becky Davies and made by Angharad Gamble, the actors Bea Webster, Ruth Curtis and Steph Lacey remain onstage throughout. They are shadowed by Erin Hutching as the stage manager who translates the trio’s spoken dialogue into British Sign Language. The dresses in turn are removed, but the peeling of the title also alludes to other forms of disrobing: of character, theatrical conventions, of the personal and societal expectations of disabled women. Towards its conclusion, one senses that history itself is also unravelling. We are brought to our current historical moment, laden with horrors. The grandiose “then and now” appears to be depressingly apt.

Produced by Taking Flight Theatre, who have been staging accessible productions in Wales for 10 years, Peeling is a show that insists it be viewed on its own terms. The peeling is not for your titillation. It sticks a middle finger up at paternalistic and woolly tick-box exercises in representation and inclusivity. Accessible theatre? Do it properly, it demands. Do it like this.

Bea Webster, Erin Hutching and Stephie Lacey in Taking Flight’s production of Kaite O’Reilly’s ‘peeling’. Photo: Janire Najera

‘Thought provoking and entertaining’ – 4 stars. The stage review

After 10 years of creating outdoor plays involving D/deaf and physically disabled actors (performing in spaces as unlikely as woodland and castles), Taking Flight Theatre finally goes indoors with this new version of Kaite O’Reilly’s Peeling, embarking on a national theatre tour.

First performed in 2002 by Graeae, it’s a play within a play. Alfa (Bea Webster), Beaty (Ruth Curtis) and Coral (Steph Lacey) are three actors hovering backstage during a postmodern version of The Trojan Women: Then and Now. Cajoled by an irritable stage manager (Erin Hutching, also BSL-signing), the world-weary trio is convinced they’ve only been employed to tick the ‘disability box’ and to add weight to the equal opportunities monitoring form. They yearn to be an Andromache or Hecuba, each able to recite those character’s soliloquies – all while waiting to deliver their own minimal lines.

O’Reilly is an extraordinarily poetic playwright who specialises in contemporising Greek theatre, so the Trojan Women backdrop here allows her to explore epic themes of war from a feminist standpoint. Yet it’s her more earthy, acerbic wit that hits the notes best in Elise Davison’s confident production. Subjects as trivial as celebrity gossip vie with deeply poignant questions about choice for disabled women, around their own bodies and children.

It’s challenging, but also entertaining. The action is BSL-signed and audio-described throughout, all as a natural part of the onstage action, and there’s plenty of opportunity for the strong cast to send up theatre’s right-on but sometimes cursory attitude towards D/deaf and disabled talent.

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I’m going on tour with the company on two dates this month, with a post-show discussion at Theatr Clwyd on 19th March and Aberystwyth Arts Centre on 26th March, where I believe David Rabey will be chairing the Q&A. The production will continue to tour Wales, Manchester and Oxford this Spring, with a tour of England planned for the autumn. Further details from Taking Flight.

The Politicized Disabled Body – Performance Matters – Vol 4, No 3 (2018): Performance and Bodies-Politic

The Politicized Disabled Body

by Kaite O’Reilly

Abstract

This is a short excerpt from a public talk that the author gave as part of a residency at University College Cork in Ireland in the fall of 2018. It appears in Vol 4 no 3 of Performance Matters [editor Roisin O’Gormon], a peer-reviewed, open access on-line journal published bi-annually by Simon Fraser University that focuses on all aspects of performance: what it does, and why it is meaningful. Click here for our latest issue.

Minimum Monument, by Néle Azevedo, in Silkeborg-DK, August 2017. Image © Néle Azevedo. Used by permission

The Politicized Disabled Body

Kaite O’Reilly

Theatre could be defined as the study of what it is to be human. For millennia we have come to sit communally—a group of human beings watching another group of human beings pretending to be other human beings. We are endlessly fascinated with each other, yet a place purported to be about the range of human possibility has for too long been circumscribed and limited, especially towards a large proportion of the population.

As I have discussed at length elsewhere (O’Reilly 2017a, 2017b), for millennia in the Western theatrical canon, the atypical body has been used to scare, warn, explain and explore human frailty, mortality, and the human condition. Disability has been a metaphor for the non-disabled to explore their fears and embedded societal values. Although disabled characters appear in thousands of plays, seldom has the playwright been disabled, or written from that embodied, or political perspective. The vast majority of disabled characters in Western theatrical tradition are tropes, reifying the notions of “normalcy.” Some strange untruths have therefore been created and recycled in our dramas for stage and screen: the rich, rewarding reality of our lives replaced with problematic representations which work to keep us different, “special,” and apart. This “othering” of difference (which also includes gender, sexual preference, belief system, cultural heritage, and so on) provides a “useful” slide-rule against which notions of “being normal” and “fitting in” can be measured. These distorted ideas in our entertainment media legitimize the negative attitudes that can lead to discrimination and hate crime.

As a multi-award-winning playwright and dramaturg who identifies culturally and politically as disabled, I have been exploring this territory for several decades, informed by the Social model of disability, working across and between so-called “mainstream” culture and what I coin “crip” culture. I consider disability a social construct—I am a woman with a mild sensory and a degenerative physical impairment, but it is society’s attitudinal and physical barriers which are the disabling factors, not the idiosyncrasies of my body.

In my work I am interested in creating new protagonists, with different narratives, and with different endings, and in challenging and expanding the actual theatre languages at play in live performance through my engagement with the aesthetics of access. I believe re-imagining disability opens up possibilities in content, representation, aesthetics and form—changing the stories we tell, how they are told, and by whom.

Paul Darke (1997, 2003) and other disability performance scholars such as Carrie Sandahl (2005) have written at length about the limited plot lines for the disabled character. Often, as seen again with the 2016 film version of JoJo Moyes’ Me Before You, it is emphatically “better dead than disabled.” In films and plays stereotypes rule—the blind wise “seer,” the evil and twisted mastermind, the hero who overcomes her impairments to “pass” as non-disabled. From Tiny Tim to Richard III to Oedipus, we have been the personification of uselessness, or evil incarnate. These stories and characters are so prevalent, Paul Darke claims the audience believes they understand and know disabled experience, even though it is through a filter that isolates, individualizes, medicalizes or finally normalizes the character. What the audience is experiencing are not the “truths” of our lives, but the long cultural and linguistic practice of ascribing meaning to the atypical body. We are metaphors—something the disabled and Deaf actor-characters in my metatheatrical play peeling(2002) deconstruct, subvert, and ultimately rebel against.

As a playwright, I try to present different protagonists and different stories, often challenging contemporary representations of disability. The survivors of TBI (traumatic brain injury) in my 2008 play The Almond and the Seahorsesubvert notions of brain injury splashed across the media and question who the real “victims” are—if indeed there are any. Protagonists, their journeys and outcomes can be subverted and changed, offering more possibilities and rich, engrossing drama that avoids stereotypes.

This reconsideration of narrative and “protagonist” is just one element in what I coined “Alternative dramaturgies informed by a D/deaf and disability perspective” while Arts and Humanities Research Council Creative fellow at Exeter University’s drama department (2003–06), and latterly while affiliated with Freie Universität’s International Research Centre “Interweaving Performance Cultures” (2012–18). “Alternative” to what? To the mainstream, ableist, hearing perspective. By “alternative dramaturgies” I mean the content, processes, structures and forms that reinvent, subvert, or critique “traditional” or “conventional” representations and routes.

A further example would be the “aesthetics of access”: using access “tools” creatively, and from the start of the process rather than as an “add-on” for a particular stratum of the audience, identified through impairment (“audio description and touch tours provided for the visually impaired…”). I’m interested in a holistic experience, where the entire audience engages with the theatre languages at play through their individual modes of communication: embedded audio description; bilingual work in visual and spoken/projected languages; creative captioning integrated into the scenography design as a central element of the set.

These devices make the work more accessible, but most importantly they challenge the ingrained assumptions and hierarchies in contemporary theatre and culture. When we change the bodies who perform, design, direct, create, and commission the work in our pleasure palaces, when we change the theatre languages used, the processes and practice are inherently changed as well. We can then truly be a place that  celebrates all the possibilities of human variety, challenging notions of “difference” and revoking the old stories and their predictable endings.

Change is coming, with more disabled and Deaf artists coming to the fore across artforms. This is partly owing to the fruits of the UK and US disability civil rights movements, out of which disability arts and culture grew, and the disability arts forums, organizations, and festivals that supported and still encourage this growth. In the UK it is also down to initiatives such as Unlimited, keen to promote, commission, and embed the work of disabled and Deaf artists in the so-called “mainstream” cultural sector on a level never experienced before.

Inclusivity and diversity are currently buzz-words internationally, and although I applaud initiatives that aim to integrate more Deaf, disabled and neuro-diverse practitioners into theatre productions, I have a caveat: the atypical body is not neutral, and placing a disabled figure on stage is not necessarily a radical act in itself. Much relies on the framing, and the controlling artistic perspective, for the atypical body can be used dramaturgically by the director/choreographer to express content and meaning beyond the actuality of the body—and sometimes without the actor’s awareness or participation. My Unlimited/National Theatre Wales production, In Water I’m Weightless, part of the official Cultural Olympiad celebrating the 2012 Olympics and Paralympics, is a case in point. Featuring six of the UK’s leading Deaf and disabled performers, and directed by John E. McGrath, the actors chose the content they performed from my authored collection of monologues and also controlled how they were placed and represented on stage. Several of them had had bad experiences of previously being used as a dramaturgical tool to express subtext or create additional material and meaning beyond the content of the performance text.

For me, this is central: having a politicized disability perspective informed by the Social model of disability brings a broadening in attitude, in values, and enables an avoidance of narrow definitions of “normality.” This perspective, when disability-led, encourages impairments not to be viewed as something to be cured or overcome, but rather as an incitement to embrace the diversity and modes of communication, and use these artistically.

Perhaps in the aesthetics of access we can begin changing the experience of theatre along with its languages, and start escaping the tyranny of normalcy.

Copyright (c) 2019 Kaite O’Reilly

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Notes

[1]Unlimited is an arts commissioning program that enables new work by disabled artists to reach UK and international audiences. See https://weareunlimited.org.uk.

Bibliography

https://howlround.com/necessity-diverse-voices-theatre-regarding-disability-and-difference

Darke, Paul. “Everywhere: Disability on Film.” In Framed: Interrogating Disability in the Media, edited by Ann Pointon and Chris Davies, 10–15. London: British Film Institute, 1997.

Sandahl, Carrie. “From the Streets to the Stage: Disability and the Performing Arts.” PMLA120, no. 2 (2005): 620–4.

Rieser, Richard. Disabling Imagery?: A Teaching Guide to Disability and Moving Image Media. London: British Film Institute/Disability Equality in Education, 2004.

O’Reilly, Kaite. peeling. London: Faber & Faber, 2002.

O’Reilly, Kaite. Henhouse.Oberon contempory plays 2004.

O’Reilly, Kaite. Woman of Flowers. Aurora Metro. 2014

O’Reilly, Kaite. Atypical Plays for Atypical Actors.  London: Oberon Contemporary Plays 2016.

O’Reilly, Kaite. The ‘d’ Monologues. London: Oberon Contemporary Plays 2018.