Hypothermia, a play written and directed by paper author Vanessa Brooks
Thursday 29 June 2017
Author Vanessa Brooks also expresses concerns that the arts sector’s focus on funding and programming ‘disabled-led’ art is an obstacle for actors with learning disabilities, who simply “can’t work in this way”.
The paper has prompted debate, with the critique of relaxed performances rejected by Maria Thelwell, Creative Engagement Officer at West Yorkshire Playhouse, who said they can help integrate audiences and foster understanding when offered alongside other initiatives and “are not designed as one-size-fits-all”.
Separate Doors 2 is written by Brooks, who is the former Artistic Director of Dark Horse theatre company and pioneer of the ‘Silent Approach’ to rehearsing, a non-verbal method that aims to integrate actors with and without learning disabilities.
The paper examines training, casting and representation for actors with learning disabilities in UK theatre, including a detailed look at her research into the Silent Approach at the Royal Academy of Dramatic Art.
In the report, Brooks criticises Arts Council England’s call for arts organisations to simply ‘embrace the creative case’ by working with actors with learning disabilities as, she says, this “isn’t going to result in a positive or even a collaborative outcome”.
She told AP: “We don’t expect technicians to run tech rehearsals without training, we shouldn’t expect producers, playwrights and directors to work with learning disabled actors without support and insight.”
Brooks is positive about inclusive initiatives such as Unlimited and Ramps on the Moon, but warned that they have not addressed the specific needs of actors with learning difficulties.
“Trained actors with moderate learning disabilities have had decreasing exposure as their work sits between two stools – it’s not disabled-led, it’s collaborative, and they are unable to work to a traditional language-based rehearsal process due to cognitive difference.
“They’ve fallen between two stools and can’t work in either of these initiatives.”
In addition, the report says there’s “no reason” why integrated, audience-facing work cannot happen at the same time as work framed specifically for learning disabled audiences, and “for one form to exclude the other isn’t right”.
The idea that all people with learning disabilities need adapted lighting and sound, and a reduction in ‘pulse-quickening content’, Brooks warns, is creating “a theatrical autocracy and lacklustre offer for adults with learning disabilities, who like their drama as well-buttered and ramped up as the next person”.
“Relaxed performances suggest this group of people is considered to be other,” she adds. “[They] also offer audiences who prefer not to experience theatre in the company of groups of people unlike themselves an opportunity to elect do so and I’m not sure how comfortable we should be with that idea.”
Brooks’ comments have been backed up by some people in the sector. Joyce Lee, Resident Director of learning-disabled theatre company Mind The Gap, agreed that some venues programme work featuring learning disabled actors in a different space from the main programme and “aim for and/or assume it is for a different kind of audience” to other work.
She said: “I sometimes feel there’s a reverse ‘trickle-down theory’ being adopted by venues: let’s start with programming learning disabled shows in broom cupboards, then gradually maybe the main programme could be influenced.
“Ramps on the Moon and Unlimited are successful in challenging this to a certain degree. But so far these initiatives haven’t engaged extensively with learning disabled artists, and I don’t see it working any time soon.”
Thelwell defended relaxed performances, telling AP that they were “just one way” theatres such as West Yorkshire Playhouse address long-standing barriers to participation.
“Learning disabled audiences are welcome to and do attend a range of performances at the Playhouse regardless of whether they are adapted or not,” she said. “Indeed hundreds of people with learning disabilities, sensory and communication needs, access all kinds of shows all year round here in Leeds.
“But relaxed performances can provide that first step for very marginalised young people to access the theatre and wider arts world and offer a valuable resource to learning disabled people and their families and support networks.”
She added: “Relaxed performances should only be one significant part of how we engage with learning disabled people – participation, casting, artist development and audience development should all form part of the landscape.
“Theatres need to continuously engage with learning disabled audiences, artists and participants to create and inform exciting and progressive opportunities in the arts.”
When asked if the introduction of relaxed performances was a mistake, Brooks said: “The concept of making work which appeals and engages people who need extra support to enjoy theatre is of course of value but I think many accommodations can be embraced into general theatre-making processes without taking this risk of segregation.”
Dangerous segregation or a valuable resource? Let us know what you think about relaxed performances and the sector’s support for learning disabled artists in the comments below or on Twitter, @artspro.
Author: Christy Romer