The National Theatre of the Deaf and the Teatr mimiki i zhesta: Two Views on Theatre of the Deaf

Abstract

The National Theatre of the Deaf and the Teatr mimiki i zhesta: Two Views on Theatre of the Deaf Samuel J. Zachary In the past twenty or so years the term "deaf theatre" has somewhat generically denoted theatre events which in one way or another feature deaf actors, appeal primarily to deaf audiences, or focus on deaf issues.1 All of these applications are acceptable. However, the formation and subsequent evolution of America's National Theatre of the Deaf and Russia's Teatr mimiki i zhesta, Moscow Theatre of Sign and Gesture, have rather sharply defined that branch of deaf theatre known as "theatre of the deaf."2 Simply stated, "theatre of the deaf" identifies play production made more or less equally accessible to hearing and hearing impaired audiences through collaborative efforts of signing deaf actors and speaking hearing actors. Beyond this cursory explanation, a multitude of unique characteristics have established the National Theatre of the Deaf and the Moscow Theatre of Sign and Gesture among the world's most accomplished and reputable theatres of the deaf. The purpose of this article is twofold: 1) to acquaint readers with particular characteristics of the National Theatre of the Deaf and the Moscow Theatre of Sign and Gesture (identified throughout the balance of the article as NTD and MTSG respectively) by comparing the companies' origins and artistic philosophies; their use of visual language and vocal interpretation of that language; their actor training programs, repertoires, and touring policies; and their social and artistic influences, and 2) to alert readers by example to the sometimes diverse.ways in which theatres of the deaf may be structured. Origins and Artistic Philosophies Before becoming instituted, neither the NTD nor the MTSG were intended to fulfill artistic missions. Social service agencies imagined each as a means by which society's awareness of deafness could be expanded and deaf people's talents could be exercised. Yet once initiated, each company matured quickly into a professional troupe with decidedly artistic goals designed to meet the needs of both deaf and hearing audiences. 53 54 Samuel J. Zachary The impetus for a deaf theatre in America came in 1961 when Dr. Edna Levine and members of the Vocational Rehabilitation Administration sought ways to deter the "abysmal ignorance of Americans about their country's deaf population and deafness in general" (Seism 1). At the Administration's invitation , Arthur Penn and Anne Bancroft, director and star of The Miracle Worker, along with Penn's associate David Hays, journeyed to Washington, D.C, to explore the proposition of developing a deaf theatre. While there, Bancroft visited Gallaudet College (America's only liberal arts college for the deaf) to study facets of sign language and deafness for her role as Annie Sullivan. She and her associates first witnessed the compelling intricacies of deaf theatre when they attended Gallaudet's production of Our Town. Although all three became immediately entranced by the artistic potentials of visual language, only Hays found opportunity to pursue the establishment of a professional theatre of the deaf. George C. White's creation of the O'Neill Foundation in 1965 supplied Hays with the long sought after financial and artistic base he needed. With the assistance of George Detmold, then Dean of Gallaudet College, the school's 1966 production of Iphigenia in Aulis was produced at the Foundation's summer playwright's conference. One year later, with the economic support of the Social and Rehabilitative Services, the NTD was formally instituted with Hays as Managing Director. A renovated two-story barn in the O'Neill Theatre complex in Connecticut became the company's first home. Currently, the NTD operates out of the Hazel E. Stark Center in Chester, Connecticut, and in the past twenty-six years has grown steadily in prestige and, as a result of many international tours, has become the most recognized theatre of the deaf in the world. Within the past year, it has become necessary for the NTD to add two additional artistic directors to assist Hays in the burgeoning task of administering the thriving organization. The genesis of the MTSG also was sparked by the interest of a nontheatre group, this time the All-Russia Society...