How do disabled people experience theatre, as both audience members and performers? How has the institution of theatre responded to disability over time? How can we create new spaces for performance and attend to different communities forms of expression?
This insightful and engaging text examines the complex relationship between theatre and disability, bringing together a wide variety of performance examples in order to explore theatrical disability through the conceptual frameworks of disability as spectacle, narrative, and experience.
| Series editors' preface |
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vii | |
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1 | (34) |
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Note on language: models of disability |
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6 | (5) |
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11 | (1) |
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Representation and the stage |
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12 | (4) |
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Archives and disability theatre |
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16 | (6) |
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Against character: melodrama, realism, and contemporary theatre aesthetics |
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22 | (4) |
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Subversion and openings: staging Weights |
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26 | (3) |
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29 | (3) |
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Apres-theatre: coming home |
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32 | (3) |
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Writing disability theatre histories |
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35 | (35) |
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Infrastructural histories |
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35 | (6) |
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Theatre history: single companies |
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41 | (4) |
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Theatre history: freak shows |
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45 | (4) |
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Excursion: personal histories of a disabled performance-maker |
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49 | (4) |
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53 | (4) |
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Theatre history: the asylum |
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57 | (2) |
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Watching/theatre/history: madhouse caves |
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59 | (11) |
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70 | (8) |
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An ethic of accommodation |
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71 | (2) |
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Making shows: theatres in the wild |
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73 | (5) |
| Conclusion |
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78 | (1) |
| Further reading |
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79 | (2) |
| Bibliography |
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81 | (6) |
| Index |
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87 | (4) |
| Acknowledgements |
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91 | |
After teaching for a decade in the UK, Petra Kuppers is now Professor of English, Theatre and Drama, Art and Design, and Womens Studies at the University of Michigan, USA. She also teaches on the low-residency MFA in Interdisciplinary Arts at Goddard College, USA, and runs the international disability culture collective, The Olimpias.
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