Drama

This article explores the coincidence between Sarah Bernhardt's role as a theatrical manager in the late nineteenth and early twentieth century and her pioneering work in the nascent film industry. I argue that Bernhardt was not only a performer and manager in the theatre, but a creative agent in modern media industries. Questions about the relationship between Bernhardt and early film allow us to discuss the formation of female business experience in the theatre and its subsequent movement into a cinematographic culture that would dominate and define twentieth-century culture and commerce. Even if Bernhardt is regarded as a 'lone entrepreneur' and therefore extraneous to broader national discussions of theatrical industrialisation, it is important to understand the impact she has as a media celebrity who used film in order to expand her own twentieth-century global marketability. Sarah Bernhardt is one of the most globally celebrated actress-managers of the late nineteenth century. Her renown hinges on her capacity to remain in the public eye for over sixty years and to gain control of her professional career through forty years of theatrical management.

A special issue of Studies in Musical Theatre offering a range of new critical perspectives on Lin-Manuel Miranda's Hamilton, including:

“Is It Like a Beat Without a Melody?”: Rap and Revolution in Hamilton | Jeffrey
Severs

Rise Up: Nuyorican Resistance and Transcultural Aesthetics in Hamilton | Gabriel
Mayora

Hamilton’s Women | Stacy Wolf

Blackout on Broadway: Affiliation and Audience in In the Heights and Hamilton |
Elena Machado Sáez

Staging a Revolution: The Cultural Tipping Points of John Gay and Lin-Manual
Miranda | Tiffany Yecke Brooks

Miranda’s Les Miz | Jeffrey Magee

Hamilton Meets Hip-Hop Pedagogy | Alison Dobrick

“Hey Yo, I’m Just Like My Country”: Teaching Miranda’s Hamilton as an
American Chronicle | Timothy J. Viator

Lin-Manuel Miranda and the Metamyth of a Nation’s Founding | Helen M. Whall

“What If This Bullet Is My Legacy?”: The Guns of Hamilton | Meredith Conti

Hamilton and Class | Matthew Clinton Sekellick

A Conversation Rewound: Queer and Racialized Temporalities in Hamilton |
Shereen Inayatulla and Andie Silva

One of America's most powerful and original dramatists, August Wilson offered an alternative history of the twentieth century, as seen from the perspective of black Americans. He celebrated the lives of those seemingly pushed to the margins of national life, but who were simultaneously protagonists of their own drama and evidence of a vital and compelling community. Decade by decade, he told the story of a people with a distinctive history who forged their own future, aware of their roots in another time and place, but doing something more than just survive. Wilson deliberately addressed black America, but in doing so he discovered an international audience.

Članak u osnovi polazi od prikaza predstave Emigranta Slovenskog narodnog gledališča Drame u režiji Nine Ramšak Marković kao moguće pozorišne adaptacije istoimene drame poljskog pisca Sławomira Mrożeka. Međutim, kompleksnošću svoje tematike i specifičnim dijaloškim strukturama, ona otvara mnoštvo novih pitanja, te prelazi istorijske granice i kao svojevrsna paradigma o emigraciji oslikava i današnje vreme. Analizom i razumevanjem društvenog konteksta, motiva, simbolike, ali i binarnih opozicija kao osnova u stvaralaštvu Sławomira Mrożeka, tekst će pokušati da ponudi odgovore na pitanja aktuelnosti, ali i recepcije navedenog dramskog dela, te predoči kulturu migracija kao sveprisutni fenomen.

This paper aims to concretize this notion of literary theories being in dialogue by exploring the intertwining of the Marxist theory, mainly depending on Karl Marx and Vladimir Lenin’s theories, and Freudian psychoanalytic theory, based on Sigmund Freud’s writings, in Arthur Miller’s play “The Crucible” with focus on Reverand Parris as a representative of the Bourgoise and John Proctor, Abigail Williams and the people of Salem as representatives of the Proletariats. “The Crucible” portrays the Marxist ideology of class division, yet more importantly, it traces religion, a concept long debated among the Marxists, as the trigger to the class struggle. The characters in the play have taken to 2 extreme measures for power attainment; Hysteria, triggered by the Id, and revolution, triggered by the Superego. This is what this paper aims to explore further with taking

Επιχειρείται μια φαινομενολογική προσέγγιση της νύχτας στην ελληνική δραματουργία, από τη μεταπολίτευση και μετά. Η νύχτα είναι και λειτουργεί ενδοκειμενικά ως μία αναπαράσταση, δηλαδή ως μία ελλιπής ή και παραπειστική επανάληψη μιας ελικοειδούς και δυσπρόσιτης πραγματικότητας, ως μία επανάληψη που ενεργοποιεί κατά το μάλλον ή ήττον τις μεταφορικές δυνάμεις της γλώσσας, παράγοντας, ως εκ τούτου, νοητικά σχήματα ασταθή, αμφίβολα και αμφίσημα. Το μελέτημα δεν εστιάζει στις τυπικές χρονικές σημάνσεις της νύχτας, εκεί δηλαδή όπου μια σκηνική οδηγία μας πληροφορεί ότι απλώς είναι νύχτα, αλλά στα «γεγονότα» που λαμβάνουν χώρα κατά τη διάρκεια αυτής της νύχτας και, σε αρκετές περιπτώσεις, στα γεγονότα γενικότερα που θα μπορούσαν να χαρακτηριστούν ως «νυχτερινά». Άρα, το ζήτημα μετακυλύεται από τη χρονική σήμανση στο περιεχόμενο της νύχτας, σε αυτό που θα μπορούσε να είναι νυχτερινό χωρίς απαραίτητα να λαμβάνει χώρα τη νύχτα, σε αυτό που είναι «σκοτεινό», ανοίκειο ή παραβατικό. Η νύχτα είναι το σύνορο του οριοθετημένου και του απεριόριστου, της λογικής και της φαντασίας, του φυσιολογικού και του τερατώδους, είναι η οριακή εκείνη περιοχή όπου ο άνθρωπος μπορεί να σταθεί έχοντας στη μία πλευρά του το οικείο περιβάλλον της «κατοικίας» του, (που αποτελείται λ.χ. από υιοθετημένες στάσεις και συμπεριφορές, από αυτονόητες προϋποθέσεις και κοινόχρηστες έννοιες), και στην άλλη, όλους εκείνους τους ακατοίκητους τόπους που αγνοεί, παραβλέπει ή απωθεί.
Οι αναλύσεις των έργων κινούνται σε δύο κατευθύνσεις: στην κατεύθυνση του ανοίκειου και σε εκείνη του οικείου. Μεταξύ των εξεταζόμενων κειμένων στην κατεύθυνση του ανοίκειου είναι ο Γάμος  και η Γυναίκα του Λωτ του Μάριου Ποντίκα, η Κατσαρίδα του Βασίλη Μαυρογεωργίου, το Playmobil του Παναγιώτη Μέντη, ο Αόρατος θίασος και οι Δύκολες νύχτες του κυρίου Θωμά του Ιάκωβου Καμπανέλλη, ο Φιλοκτήτης και Τα επτά κουτιά της Πανδώρας του Βασίλη Ζιώγα, ο Περιποιητής φυτών και Προς Ελευσίνα του Παύλου Μάτεσι, το Μαγικό δωμάτιο του Γιάννη Χρυσούλη, το Μόνο την αλήθεια  των Βασίλη Μαυρογεωργίου και Μαρία Φιλίνη. Στην κατεύθυνση του οικείου εξετάζονται τα έργα: Σε φιλώ στη μούρη του Γιώργου Διαλεγμένου, το Γάλα του Βασίλη Κατσικονούρη, Στην Εθνική με τα μεγάλα του Μιχάλη Βιρβιδάκη, οι Φιλοξενούμενοι του Μάρκαρη και οι Ξένοι του Μέντη, οι Εφτά λογικές απαντήσεις του Λεωνίδα Προυσαλίδη κ.ά, ενώ στις διασταυρώσεις των δύο κατευθύνσεων εξετάζονται το Σε σας που με ακούτε της Λούλας Αναγνωστάκη, Ο Κήπος με τα χελιδόνια του Μπάμπη Τσικληρόπουλου, το 314 του Παναγιώτη Παναγόπουλου, το Ατύχημα του Χρυσούλη ή ο Ορθός λόγος του Μάριου Ποντίκα.
Τα θέματα, οι εικόνες, οι ιστορίες και οι προσωπικές περιπέτειες που συναντούμε εδώ μπορούν να αποτελέσουν μέρος μιας μεγαλύτερης αφήγησης παραβάσεων και υπερβάσεων, αποκλίσεων και συμβολικών μορφών, η οποία θα μπορούσε να διευρύνει τις οπτικές γωνίες επόπτευσης των κειμένων. Μια παρόμοια προσέγγιση μας προτρέπει να ξαναδιαβάσουμε διεστιακά πολλά κείμενα της νεοελληνικής δραματουργίας με διαφορετικούς τρόπους και να διερευνήσουμε πώς οι ταυτότητες και οι διαφορές εμπλέκονται στη σύνθεση των κειμένων αυτών, διαμορφώνοντας μια διαλογική σχέση του εγώ και του άλλου.

Based on a chapter from my Pygmalion and Galatea (2001), this article explores the nuances in the performances of the actresses who play Galatea in nineteenth-century plays on the subject, and how these feed in to Shaw’s understanding of Eliza’s knowing innocence in Pygmalion. It looks at the public fascination with women who looked like statues.

Twelfth Night or What You Will is a comedy by William Shakespeare which was originated as an entertainment for the close of the Christmas season in 1601. The play expanded on the musical interludes expected on the occasion. Twelfth Night was written possibly in 1599 but it is dated usually in 1601. The first record of this play is found in the performance in 1603 at the Middle Temple. Shakespeare was most likely influenced by the Italian plays of his age. Written most likely after his comedies Much Ado About Nothing and As You Like It and before the great tragedies Hamlet, Macbeth and King Lear, this comedy of Shakespeare are considered to be the highest comic piece.

Öz Bu çalışmanın temel amacı, eğitimde drama destekli etkinliklerin altı yaş (60-72 ay) çocuklarının duygusal becerilerine etkisini ortaya koymaktır. Çalışma, deney grubunda 7 kız, 6 erkek, kontrol grubunda ise, 7 kız, 5 erkek olmak üzere toplam 25 çocukla gerçekleştirilmiştir. Araştırma, Eğitim Bakanlığına bağlı bir ilkokulun iki anasınıfında gerçekleştirilmiş ve araştırmada öntest-son test kontrol gruplu yarı deneysel desen kullanılmıştır. Çalışmada veri toplama aracı olarak araştırmacılar tarafından geliştirilen Duyguları Tanıma ve Anlama Testi (DUTAT) kullanılmıştır. Çalışmada, araştırmacılar tarafından geliştirilen ve 36 etkinlikten oluşan " Drama Destekli Duygusal Becerileri Geliştirme Etkinlikleri " kullanılmıştır. Etkinlikler, belirlenen 7 duygusal beceriyi geliştirmeye yönelik olarak hazırlanmış ve 12 haftalık bir program dahilinde uygulanmıştır. Yapılan analizler sonucunda, deney grubundaki çocuklar ile kontrol grubundaki çocukların duyguları tanıma ve anlama son test puanları arasında deney grubu lehine anlamlı farkların olduğu bulunmuştur. Araştırmanın bulguları doğrultusunda, deney ve kontrol gruplarındaki farklılaşmaların, drama destekli duygusal becerileri geliştirme etkinliklerinden kaynaklandığı ileri sürülebilir. Anahtar sözcükler: Duygusal beceri, duyguları tanıma, duyguları anlama, eğitimde drama. Abstract The main purpose of this study is to investigate the effects of drama supported educational activities on six year old (60-72 months) children's emotional skills. A total of 25 children participated in this study in two groups. In the experimental group, there were 7 girls and 6 boys, and in the control group, there were 7 girls and 5 boys. The research used a quasi-experimental pretest-posttest control group design and was conducted in two preschool classrooms of the Ministry of Education. As the data collection tool, Recognizing and Comprehending Emotions Test (DUTAT) developed by the researchers of this study was used. Researchers used the " Activities for Drama Supported Emotional Skills " that consists of 36 exercises. These exercises were prepared to develop the designated 7 emotional skills and they were applied over 12 weeks. As a result of analysis, it is observed that there was a meaningful difference, to the advantage of the experimental group when the total points of Recognizing and Comprehending Emotions Test for the experimental and control groups were compared.

The Colonial Public and the Parsi Stage is the first comprehensive study of the Parsi theatre, colonial South and Southeast Asia’s most influential cultural phenomenon and the precursor of the Indian cinema industry. By providing extensive, unpublished information on its first actors, audiences, production methods, and plays, this book traces how the theatre—which was one of the first in the Indian subcontinent to adopt European stagecraft—transformed into a pan-Asian entertainment industry in the second half of the nineteenth century. Nicholson sheds light on the motivations that led to the development of the popular, commercial theatre movement in Asia through three areas of investigation: the vernacular public sphere, the emergence of competing visions of nationhood, and the narratological function that women served within a continually shifting socio-political order. The book will be of interest to scholars across several disciplines, including cultural history, gender studies, Victorian studies, the sociology of religion, colonialism, and theatre.

Choirs, an organized group of singers, of all sizes rehearse and perform around the globe. While some are professional or organized by a professional organization such as the Metropolitan Opera Chorus and others such as church choirs are made up of volunteers, each are lead by a choir director. This individual performs a variety of musical and administrative duties needed to assist a choir in the preparation and performance of their music. While volunteer choirs tend to have minimal education requirements for these individuals, professional chorus will only consider those who possess college degrees within music. Choirs come in all sizes. Additionally, they may specialize in one or more types of music such as liturgical, classical or popular. In addition to maintaining a strong knowledge of music in general, it is important for a choir director to have a deep understanding of the style of music the choir will perform. A choir director spends most of his time preparing the choir for performances of the season. This begins with the director auditioning singers and selecting new members from those who interview. Once a core group has been selected, the director decides upon a program of music for this season.

This paper was published in my book, "The Theatre of Wole Soyinka - New Frontiers in Performance Theory and Postcolonial Discourse", 2nd edition (Ilori, 2017. Leeds: Universal Books). The author examines "The Road" and "Death and the King's Horseman" as Soyinka's problematisation of cultural protagonists as wishful postcolonial thinkers whose originality and literality, contradicting the traditions prevailing in their world, lead to a tragic impasse for them and their communities. It is argued that myth and ritual are the envelope for the profound liminality that permeates their acts of self-iteration, and Death (as a form of metaphysics or traditionalism) seals this envelope in a way that binds their communities to self-asphyxiating forms of postcoloniality. As a result, postcoloniality becomes a construct reared, arguably, on the restrictive discourse of power and knowledge inducted within the acts of Soyinka's tragic heroes.

The polemics of Michel Foucault (1998), the French postmodernist whose notions of power and its politics rest on the concert of cultural idealities which assail the traditional bases of power in social actors and structures help to form a critical scrutiny of death as a ritual of power and alienation in the acts of Professor and Elesin Oba; death as a form of postcolonial discourse in the communities encountered in both plays; and death as a trope of Soyinka's “fourth stage” – as the embodied subjectivity of disembodied stage characters.

Feminizm altmışlı yıllardan itibaren bütün dünyada kadınların hak arama mücadelesini arttıran bir akım olarak ortaya çıkmıştır. Sadece sosyal ve toplumsal boyutta değil aynı zamanda sanatsal düzlemde de ifadesini bulan feminizm, tiyatro sahnesinde de var olma mücadelesi göstermiştir.
Bulunduğu coğrafi bölge ve konjüktürel duruma bağlı olarak farklılıklar
göstermesine rağmen feminist tiyatro; metin, yazar, sahneleme, dil, amaç ve benzeri tiyatral noktalarda benzerliklerle üretilmiştir. Bu ortak sahneleme mantığı, özellikle altmışlı yıllarda temelleri atılan ve  günümüzde daha ileri boyutlarda ele alınan bir akımın oluşmasına da ön ayak olmuştur.
Bu çalışmada ülkelerindeki feminist tiyatro metni konusunda ürünler vermiş Caryl Churchill’ın Zirvedeki Kızlar, Dario Fo – Franca Rame’nin
Yalnız Kadın ve Sevilay Saral’ın Beş Kadın ve Kadın Masalları adlı oyunları
incelenmektedir. Ele alınan oyunlar feminist metin tanımını kendi içlerinde değişik şekillerde barındırmaktadırlar. İçinde bulundukları toplumsal sürecin de ele alındığı oyunlardan yola çıkılarak bahsi geçen ülkelerdeki kadınların durumu da gözden geçirilmektedir. Feminizmin farklı mecralarda, farklı başlık ve sloganlar dahilinde hareket etmesine rağmen ortak tiyatral duruşları, kadınların her anlamda kendilerine ait bir tiyatroya sahip olmaları için iyi bir başlangıç teşkil etmiştir. Her üç yazarın eserlerinin Türkiye topraklarında ses getiren ve üzerine düşünülen yapıtlar olması, farklılıklar ve benzerlikleri saptama açısından karşılıklı bir analiz ihtiyacını doğurmaktadır. Sahne, feminizm tarafından patriarkal düzenin araçlarını deşifre etmek, kadınları ortak sorunlar etrafında bir araya getirmek ve çözümler üretmek amacıyla kullanılan bir buluşma noktası haline getirilmiştir. İncelenen metinlerde, bu yöntem ve araçların nasıl kullanıldıkları dair açıklamalar getirilmektedir.

Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the ‘right’ time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance. https://www.routledge.com/Time-and-Performer-Training/Evans-Thomaidis-Worth/p/book/9780815396284

This paper uses the frame of participation as tyranny to trouble the concept of ‘participating freely in cultural life and the arts’ within Article 31 of the United Nations Convention on the Rights of the Child, especially as it relates to the youngest children: when children's experiences are curated and determined by adults, participation may resemble manipulation rather than control. Heavily influenced by Article 31, contemporary Theatre for Early Years relies on audience participation and often takes the form of a wholly participatory experience. For many audience members, these moments can be liberating, but others may feel unsettled by a tokenistic experience which appears to legitimise the artist's hegemonic status. Sherry Arnstein's Ladder of Citizen Participation provides a provocative typology of participatory practices, which this paper reformulates in relation to the very young. As a route away from the often unconscious tyrannies which may accompany adult-led arts projects, it is proposed that participatory power structures can be created which grant agency to child audiences to engage on their own terms. This includes the ability to take control of the theatrical event, to withdraw from participation and to have children's innate imaginative capabilities recognised as comparable to those of adults.

Dictatorship is a radical, inflexible and mono dimensional current which can be penetrated into anyone. Presence of this concept in human relationships and social contexts can create disorder and lack of harmony in sensation, soul and mind of human beings. They feel this extra asymmetric energy in society. The main result of this scattering is getting in prison of soul, not having freedom, moving backward from himself and sense of horror and anxiety. The main purpose of this thesis is to define a model and a procedure which multimedia theater is unique and distinctive through movement-n-substance in social context. It should be added that dictatorship is the main reason for selecting multimedia theater because it is imposing the technology how to be used in artistic discourses.

Alternative Life-Styles in Jane Chambers’ Eye of the Gull

ABSTRACT

Within the framework of social norms and within the restrictions of the thinking mechanisms-based on binary oppositions- being a black, a non-Christian, a homosexual, or leading an alternative life is a queer or a weird thing to do. Is it the case in real life, or are the homosexuals very different from the heterosexuals?  Jane Chambers in her play, namely in Eye of the Gull depicts some scenes from the daily lives of the lesbians.  Thus, the aim of this paper is to analyse the lesbian couples in Chambers’ Eye of the Gull (1971) and to hold a mirror to their problems and happinesses by making a close reading of the play.

Key Words:
Jane Chambers, Eye of the Gull, lesbianism, gender roles, search for identity/love, alternative life-styles.

This paper examines the practice of Dorothy Heathcote as an active paradigm in the classroom both for the teacher and the learners. This is explored and explained in depth with reference to the work of a number of key research methodologists. The paradigm is then applied actively to the work of a contemporary classroom practitioner whose own words are used – through online audio recording  ‐ to help analyse the work described.

Esztétikai gondolkodás a felvilágosodás korában (1650-1800): Az ízlésesztétika paradigmája, Budapest: Gondolat, 2013. 210-258.

A 18. század elején történik meg az áttörés a francia kultúrában is. Ekkor lép fel néhány olyan gondolkodó, akik valóban önálló filozófiai problémaként tekintenek a szépre és a művészetekre, s akik megalkotják a szépművészetek érvényes gyűjtőkategóriáját. Ők készítik elő a terepet a francia felvilágosodás nagy alkotóinak – akik egyébként hozzájuk hasonlóan szintén érdeklődnek a szép és az ízlés kérdései iránt, de már nem pusztán elméleti problémaként, hanem alkotó művészekként, írókként, akik a gyakorlat és az elmélet szintjén egyaránt szembesülnek az esztétikai kérdésfelvetéssel.

Brendan Pelsue’s Wellesley Girl, which premiered in the midst of the
2016 U.S. Presidential election, depicts American democracy – as an institution, a mythology, and a practice – as a fundamentally flawed utopian framework that is susceptible to dystopian failure. In this post-apocalyptic community in which every adult is a member of Congress, it becomes clear that American democracy was systematically designed to exclude emotional reasoning – with a few notable, destructive, exceptions – and it therefore enforces performances of reason that tend to exclude women and produce a cognitive dissonance between politics and reality. Wellesley Girl merges its audience’s present with a recognizable dystopian future and implicates them in the decision-making processes of that future in order to render visible the real world consequences of that dissonance – consequences which are already manifest in our collective ecological crisis.

SUMMARY BACKgroUnD AnD oBJECtiVES: The use of CPAP in cardiogenic pulmonary edema (CPE) has already been established in the literature. However, noninvasive ventilation with two pressure levels (BiPAP) has recently been used in this clinical condition. The trials of BiPAP in CPE presented results not consistent and even conflictant, from elevated rate of myocardial ischemia to reduced mortality. So, it is important to analyze these trials with their limitation and what implied in the treatment of patients with CPE. ContEntS: This review was based on a search in MedLine using the key words pulmonary edema and cardiogenic and randomized trial and (noninvasive ventilation or bilevel positive airway pressure), selecting original articles published from 1966 to 2005, in the English literature. Consequently, six articles were selected. The analysis of these works showed that BiPAP probably did not elevate the rate of myocardial ischemia, and reduced the need of intubation (especially in hyper-capnic patients). ConClUSionS: BiPAP can be applied in CPE, especially in hypercapnic patients. However, it is necessary a larger study to define if CPAP or BiPAP is better to reduce mortality in this clinical condition.

Gender Studies is a common academic scholarship in contemporary global society. Its field of study has generated a lot of controversies about its peculiarities and subjects of discourse, especially in the European world and African society. The peculiarities and discourses are sometimes assumed to be subjected to different conceptual opinionated ideologies. These affirmations make it distances itself from the biological roles of sexuality. Previous studies have largely examined it from gender roles to the neglect of its deeper gender bias of women in society. This paper, therefore, discussed the gender bias and inequality that women encounter in their various societies and how they champion their course through the revolution of self-consciousness and power relational competitiveness. It also investigates linguistic devices deployed by the selected playwright to assert the gender inequality and liberation of womanhood from the patriarchal society. This is with a view to determining ...

Emerging only in the 1980s, the complex assemblage of critical Disability studies and theatre studies is still a developing field. There are not enough scholars doing this work, and, with accessible performances only recently becoming standard across international theatre communities, it is unsurprising that there is not much written about performers with intellectual Disabilities. Tony McCaffrey provides close readings of several key case studies in Incapacity and Theatricality to challenge fundamental performance frameworks and principles, including aesthetics, semiotics, and mimesis, through the lens of critical Disability theory. With prose that gently questions the construction , representation, and inclusion of intellectually Disabled artists , McCaffrey suggests that theatre incapacitates such acts of public discourse but yet renders those acts more intense, more open to a range of different modalities of perception and sensing (a redistribution of the sensible) and reveals in the incapacitation or deconstruction of the customary social framing of these acts new and different ways of thinking, acting, and doing. (13-14) Especially integral to critical Disability studies and theatre studies is McCaffrey's assertion that theatre with Disabled performers neither has to be a learning experience for the audience nor does it have to assume the audience is non-Disabled. Rather, theatre with Disabled performers provides an opportunity for dialogue between audience and performer that offers more than reflection: it maintains the potential to challenge and reframe how intellectually Disabled people are perceived and treated off the stage.