Investigating theatre devising for collective dialogue between deaf and hearing performers: a casestudy of From the Hip: Khulumakahle (FTH:K)
Date
2010-03-03T10:37:08Z
Authors
Mabena, Simangele
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Abstract
ABSTRACT
It is generally presumed that the Deaf community is identified by their “health-related inability”
(Shapiro, 1999:87) modelled on a medical paradigm. This paradigm negatively affects the Deaf
community, exacerbating the barriers the Deaf encounter in identifying as an independent
cultural and linguistic minority in the greater South African society. This paper seeks to
investigate the use of theatre devices in facilitating collective dialogue between hearing and Deaf
performers. Drawing on the literature which establishes sign language as linguistically
sophisticated and therefore on a par with spoken and written language, this paper identifies a
shared language as a possible unifying element between the two communities. It further
investigates the structures present in creating meaning in theatre and their correlation with the
languages of the hearing and Deaf. Using a case study of a Deaf/hearing integrated theatre
company, From the Hip: Khulumakahle (FTH:K), the paper critiques Ladd’s (2003) notion of
‘Integrated Theatre’ in the theatre devising process of FTH:K. The research involved a
qualitative case study methodology of participant observations, extensive field notes and
individual interviews with the Deaf and hearing performers. The results of the study indicate that
Deaf and hearing performers communicate using South African Sign Language1t to speak
amongst each other. FTH:K has also begun exploring the gestural and imagistic language used
between performers to collectively devise theatre amongst Deaf and hearing performers, as it
does not privilege one language over another. Another key finding from the study was FTH:K’s
concepts of ‘family’ and ‘playing’ as key elements in the theatre devising process. The
performers in the theatre devising process often adhere to familial roles in creating their own
form of integrated theatre. This study therefore critiques Ladd’s generalised statement about
Integrated Theatre but also seeks to interrogate the influence of familial power relations in
FTH:K’s theatre devising process.
1 From this point onwards I will refer to South African Sign Language as SASL