Entretien avec Rosalind Hoy de Zoo Co qui revient sur la décision de la compagnie de travail avec un comédien sourd. Les conséquences de ce choix sur le travail de la compagnie et son processus de création sont abordées.Interview with Rosalind Hoy of Zoo Co, outlining the decision to work with a deaf actor, and exploring the impact on the company and its creative processes
This entry focuses on films made by American and foreign filmmakers who have little or no special in...
Professors and filmmakers, Facundo Montenegro (2006) and Dr. Jane Norman (2005) have both asked the ...
Every night, on stages all over the world, curtains go up. Friends, families, and strangers gather t...
This thesis aims to interrogate the potential for equality of participation in theatrical performa...
The nature of any public sphere is that it embraces all private citizens: it is, in current parlance...
The gap between two worlds, Hearing and Deaf, has started to close thanks to the world of Theatre. T...
A playwright/screenwriter reflects on two decades of pitching American Sign Language inflected stori...
This is an informal case study of Deaf leadership as it evidences itself in a theatrical production ...
The Deaf individual attends theatre, like the rest of the audience, primarily to be entertained, and...
In this article, we investigate the history of Deaf theatre in Australia, through the lens of oppres...
This Masters Research Project addresses the main research question, of how best to create an inclusi...
This dissertation examines theatre and drama participation in the Deaf community. Historical researc...
In Deaf film and television, modest production budgets and limited training opportunities present c...
“So how do Deaf people sing?” I am often asked that question and my answer has been given more depth...
As co-editor of Theatre Noise, I felt we couldn't produce a this volume without attention to the sou...
This entry focuses on films made by American and foreign filmmakers who have little or no special in...
Professors and filmmakers, Facundo Montenegro (2006) and Dr. Jane Norman (2005) have both asked the ...
Every night, on stages all over the world, curtains go up. Friends, families, and strangers gather t...
This thesis aims to interrogate the potential for equality of participation in theatrical performa...
The nature of any public sphere is that it embraces all private citizens: it is, in current parlance...
The gap between two worlds, Hearing and Deaf, has started to close thanks to the world of Theatre. T...
A playwright/screenwriter reflects on two decades of pitching American Sign Language inflected stori...
This is an informal case study of Deaf leadership as it evidences itself in a theatrical production ...
The Deaf individual attends theatre, like the rest of the audience, primarily to be entertained, and...
In this article, we investigate the history of Deaf theatre in Australia, through the lens of oppres...
This Masters Research Project addresses the main research question, of how best to create an inclusi...
This dissertation examines theatre and drama participation in the Deaf community. Historical researc...
In Deaf film and television, modest production budgets and limited training opportunities present c...
“So how do Deaf people sing?” I am often asked that question and my answer has been given more depth...
As co-editor of Theatre Noise, I felt we couldn't produce a this volume without attention to the sou...
This entry focuses on films made by American and foreign filmmakers who have little or no special in...
Professors and filmmakers, Facundo Montenegro (2006) and Dr. Jane Norman (2005) have both asked the ...
Every night, on stages all over the world, curtains go up. Friends, families, and strangers gather t...
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