If theatres are to be more inclusive, audiences will need to step out of their comfort zones, says Alix Rosenfeld.
What is the difference between inclusion and belonging when it comes to working with the disability community, and how do we, as theatremakers and artistic producers, enthusiastically demonstrate the latter rather than resting on our laurels when we practice the former? And if we shift our intentions toward mindfully incorporating people with disabilities into our art and into our theatre spaces, how do we get audiences to adapt and be more willing to share the room?
The day before I went to see A Fierce Kind of Love, a devised piece that chronicles the journey of the intellectual disability rights movement in Pennsylvania, a “know before you go” email appeared in my inbox... Keep reading on Howlround
What is the difference between inclusion and belonging when it comes to working with the disability community, and how do we, as theatremakers and artistic producers, enthusiastically demonstrate the latter rather than resting on our laurels when we practice the former? And if we shift our intentions toward mindfully incorporating people with disabilities into our art and into our theatre spaces, how do we get audiences to adapt and be more willing to share the room?
The day before I went to see A Fierce Kind of Love, a devised piece that chronicles the journey of the intellectual disability rights movement in Pennsylvania, a “know before you go” email appeared in my inbox... Keep reading on Howlround