| dc.description.abstract | Considering the historical development of Western theatre audience spaces, this paper examines the barriers that stand in the way of mounting a university theatre production which utilizes a Disability Justice framework, as articulated by scholar, performer and activist Patty Berne. Utilizing practice-as-research, the author/director uses their production of Suzan-Lori Parks’ In the Blood to explore the question: How and who do audience spaces as constructed in Western university theaters exclude on, behind and in front of the stage, and what can be done to change this? This paper examines the ways in which the production’s centering concepts of consent, trauma-informed methods, and responsiveness generated a series of best practice strategies, as well as open questions, for producing a show that realizes both an on stage, and an audience space that values and caters to a celebration of mental, physical, and cultural difference. Data used in this analysis was collected through story-telling, surveys and interactive dramaturgy pre, during and post-production, from both audience and theatre practitioners on the effects of the directing and dramaturgical choices designed to enable inclusivity. This paper intends to contribute to theatre discourses that disrupt ubiquitous repetitive exclusions that pathologize certain identities and abilities from and in audience spaces. | |
