Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
210 - Diversely Abled Audiences
from Part XXI - Audiences
Published online by Cambridge University Press: 17 August 2019
Edited by
Edited in association with
Book contents
- The Cambridge Guide to the Worlds of Shakespeare
- Frontispiece
- Frontispiece
- The Cambridge Guide to the Worlds of Shakespeare
- Worlds of Shakespeare
- Copyright page
- Contents
- Illustrations
- Contributors
- Preface
- Acknowledgments
- Abbreviations
- Part I Mapping Shakespeare’s World
- Part II Theater
- Part III Language
- Part IV Science and Technology
- Part V Printing, Publishing, Textuality
- Part VI Visual Arts
- Part VII Popular Culture
- Part VIII High Culture
- Part IX England, 1560–1650
- Part X Religion
- Part XI Medicine
- Part XII The Historical William Shakespeare
- Part XIII Shakespeare’s Fellows
- Part XIV Shakespeare’s Early Reception (to 1660)
- Part XV International Encounters
- Part XVI Making the Scene
- Part XVII Shakespeare as Cultural Icon
- Part XVIII Shakespeare and Popular Culture
- Part XIX Translation
- Part XX Changing Technologies of Stage Performance
- Part XXI Audiences
- Introduction
- 204 English-Speaking Audiences: Sixteenth and Seventeenth Centuries
- 205 English-Speaking Audiences: Restoration and Eighteenth Century
- 206 English-Speaking Audiences: Nineteenth Century
- 207 English-Speaking Audiences: Twentieth Century
- 208 Shakespeare for Soldiers and Seniors
- 209 Shakespearean Players in Early Modern Europe
- 210 Diversely Abled Audiences
- 211 Audiences at the Old Globe and the New
- Part XXII Production History
- Part XXIII Printing and Reception History
- Part XXIV Shakespeare and the Book
- Part XXV Shakespeare and the Critics
- Part XXVI Shakespeare and the Performing Arts
- Part XXVII Shakespeare and the Visual Arts
- Part XXVIII Shakespeare and Media History
- Index
- References
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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 - 1538Publisher: Cambridge University PressPrint publication year: 2016
References
Sources cited
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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