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210 - Diversely Abled Audiences

from Part XXI - Audiences

Published online by Cambridge University Press:  17 August 2019

By
Maura Michelle Tarnoff
Edited by
Bruce R. Smith
Edited in association with
Katherine Rowe
With
Ton Hoenselaars ,
Akiko Kusunoki ,
Andrew Murphy  and
Aimara da Cunha Resende
Bruce R. Smith
Affiliation:
University of Southern California
Katherine Rowe
Affiliation:
Smith College, Massachusetts
Ton Hoenselaars
Affiliation:
Universiteit Utrecht, The Netherlands
Akiko Kusunoki
Affiliation:
Tokyo Woman’s Christian University, Japan
Andrew Murphy
Affiliation:
Trinity College Dublin
Aimara da Cunha Resende
Affiliation:
Universidade Federal de Minas Gerais, Brazil
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Keywords

accessibilityAmaryllis TheatreAmerican Sign Language (ASL)ASL Shakespeare Projectaudio descriptionblindCommunity College of AuroraDeafdisabilityFels, Deborah I.fingerspellingHamletHart House Theatrehearing impairmentlight-emitting diode (LED)low visionNational TheatreNovak, PeterOregon Shakespeare FestivalPeters, CynthiaRomeo and JulietRoyal Shakespeare Companysign language interpretationThe Tempesttouch tourTwelfth NightUdo, J. P.Wright-Meinhardt, Pamela
Type
Chapter
Information
The Cambridge Guide to the Worlds of Shakespeare , pp. 1533 - 1538
Publisher: Cambridge University Press
Print publication year: 2016

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References

Sources cited

Aldous, Vickie. “OSF Offers Captions for Deaf, Hearing Impaired.” Ashland Daily Tidings 29 March 2010. http://www.dailytidings.com/. Accessed 15 September 2010.Google Scholar
Davis, Lennard. Enforcing Normalcy: Disability, Deafness, and the Body. New York: Verso, 1995.Google Scholar
Harvey, Elizabeth D. “Introduction.” Sensible Flesh: On Touch in Early Modern Culture. Ed. Harvey, Elizabeth D.. Philadelphia: U of Pennsylvania P, 2002.Google Scholar
Ingalls, Zoe. “On Prospero’s Island, Deaf and Hearing Students Learn to Act Together.” Chronicle of Higher Education 14 July 2000: B2.Google Scholar
National Theatre. “Touch Tours.” https://www.nationaltheatre.org.uk. Accessed 1 September 2010.Google Scholar
Neff, Angela. “Seeing Shakespeare: Translations and Performances in American Sign Language.” MA Thesis. U of Wisconsin, Eau Claire, 2006.Google Scholar
Novak, Peter. “Project Description.” ASL Shakespeare Project. Yale University. 8 December 2009. http://www.yale.edu/asl12night/project.html, http://www.aslshakespeare.com.Google Scholar
Peters, Cynthia. Deaf American Literature: From Carnival to the Canon. Washington: Gallaudet UP, 2000.Google Scholar
Royal Shakespeare Company. “Audio Description Introductions: Access Matters.” https://www.rsc.org.uk/your-visit/access. Accessed 1 August 2010.Google Scholar
Sandahl, Carrie. “Considering Disability: Disability Phenomenology’s Role in Revolutionizing Theatrical Space.” Journal of Dramatic Theory and Criticism 16.2 (2002): 17–32.Google Scholar
Terp Theatre. “Shadow Interpreting on the Stage.” http://terptheatre.com/shadowing.html. Accessed 12 August 2010.Google Scholar
Twelfth Night. Dir. Novak, Peter. Perf. Adrian Blue, Peter Cook, and Monique Holt. Washington: Gallaudet UP, 2006.Google Scholar
Udo, John Patrick, and Fels, Deborah I.. “Enhancing the Entertainment Experience of Blind and Low-Vision Theatre Goers Through Touch Tours.” Disability and Society 25.2 (2010). 231–40.CrossRefGoogle Scholar
Udo, John Patrick, and Fels, Deborah I.. “‘Suit the Action to the Word, the Word to the Action’: An Unconventional Approach to Describing Shakespeare’s Hamlet.” Digital Commons. Ryerson University, 2009. http://digitalcommons.ryerson.ca/trsitm/16/. Accessed 28 August 2010.Google Scholar
Wright-Meinhardt, Pamela. “A Letter to C. F.” The Deaf Way II Anthology. Ed. Stremlau, Tonya M.. Washington: Gallaudet UP, 2002. 139–41.Google Scholar

Further reading

Bauman, H-Dirksen L., et al., eds. Signing the Body Poetic: Essays on American Sign Language Literature. Berkeley: U of California P, 2006.CrossRefGoogle Scholar
Cintas, Jorge Díaz, et al., eds. Media for All: Subtitling for the Deaf, Audio Description, and Sign Language. Amsterdam: Rodopi, 2007.CrossRefGoogle Scholar
Davis, Lennard J., ed. The Disability Studies Reader. 3rd ed. New York: Routledge, 2010.Google Scholar
De Jong, Lynda. “Bringing Theater to Life for the Deaf, Blind: College Programs Use Tactile Interpreters.” Deaf-Blind American 37.3 (1999): 15–17.Google Scholar
Glennie, Evelyn. “Hearing Essay.” http://www.evelyn.co.uk/Evelyn_old/live/hearing_essay.htm. Accessed 8 November 2009.Google Scholar
Kochhar-Lindgren, Kanta. “Hearing Difference across Theatres: Experimental, Disability, and Deaf Performance.” Theatre Journal 58.3 (2006): 417–36.Google Scholar
National Endowment for the Arts. Design for Accessibility: A Cultural Administrator’s Handbook. 2003 version. https://www.arts.gov/. Accessed 23 August 2010.Google Scholar
Novak, Peter. “Visual Shakespeare: Twelfth Night and the Value of Translation.” Signs and Voices: Deaf Culture, Identity, Language, and Arts. Ed. Lindgren, Kristin A. et al. Washington: Gallaudet UP, 2008. 220–31.Google Scholar
Sandahl, Carrie, and Auslander, Philip, eds. Bodies in Commotion: Disability and Performance. Ann Arbor: U of Michigan P, 2005.CrossRefGoogle Scholar
Smith, Bruce R. Phenomenal Shakespeare. Malden: Wiley-Blackwell, 2010.Google Scholar

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