www.intermissionmagazine.ca: Kayla Besse has what might be described as a highly specific set of skills.
She has both a bachelor’s and master’s degree from the University of Guelph’s school of English and Theatre Studies. Despite the school not offering a standalone disability studies program or department, she integrated disability studies into her work in English literature and theatre, examining representations of disability in literature and performing arts, as well as the the histories of disabled people and the degrees of autonomy they have/have not had when telling their own stories and representing themselves.
3 comments:
Accessibility and inclusivity in theater is very important to me as a queer artist and consumer of art with a need for accomdations. Art is supposed to be accessible to everyone, not just those that fit a certain niche. This article brings up a good point: accessibility and access is for everybody and is something that everyone should and does benefit from when implemented correctly. Relaxed and child friendly performances expand the audience and allow kids and those with sensory issues and other disabilities to enjoy shows at the same capacity as able bodied audience members. ASL can not only expand audiences but can add elements to a show or completely change a show all together such as Deaf West’s production of Spring Awakening. Through the past couple years and as Covid has shaken up the theater industry theater has become more accessible and there is more of an emphasis on how to truly create art for and with everyone.
Theo
Theater has a long way to go in terms of accessibility, but there have certainly been positive changes made in recent years. I really liked how the writer brought up how everyone has access needs even if they are not called that. It helps normalize them for people who have asked for them as such. The industry needs to do a better job at treating people who need different things than what is “the norm”. Too often, requesting any sort of change from the previously created schedule leaves you in a position in which you are called “too difficult/impossible to work with” or “refuses to work at the pace in which we are asking them to”. That’s the reality for a lot of disabled people. This is not even taking into consideration the actual workspace. There are still so many barriers for people who are disabled. The very narrow stairs, the semi-reliant elevator, the barely there seating; it all adds up when deciding whether a workspace may actually work for someone. So when we ask ourselves how we can start making theater more diverse, a good place to start would be asking how can we make it more accessible.
I think the idea of “relaxed performances” is so cool. I have a cousin I’m very close with who’s autistic. He would always come to the musicals or plays put on by my high school but would sit in the very back row for easy access to the exit with his noise reduction headphones on. People would always give him weird looks as if he was being a rude or impolite audience member. I think what Besse is doing in terms of opening up and normalizing the conversation of access needs is so important and vital to making theatre and art in general accessible to all. What really stood out to me was the quote, “everybody has access needs, we just don’t call it that.” I never really thought of being sensitive to a certain lighting or simply disliking the way a chair feels as an access need. I’m so glad that more theatre spaces are being made accessible for people with different disabilities, and I’m looking forward to seeing what other types of accommodations or technology can be used to do just that.
Post a Comment