Silence is tangible — an energy that ripples through the atmosphere. It can be felt at the Getty Villa during a recent rehearsal for Deaf West Theatre’s upcoming production of “Oedipus,” as bodies move across the stage with practiced fluidity. The occasional squeak of sneakers pierces the air, but otherwise the quiet is absolute, settling over the theater like a soft blanket.
Hayes gently holds Wailes’ hands as Wailes signs, while a Protactile interpreter deftly taps fingers on Hayes’ shoulders and back. These taps convey supplemental information beyond what is being said, explains Deaf West Artistic Director DJ Kurs. For example, gentle taps signify that other people are nodding. Stronger taps indicate that a question is being asked of Hayes, or attention is being drawn toward her. A finger scrolled on the back means that someone entered the room in that direction.
Kurs sits on a shaded patio at the Getty Villa during a break from rehearsal. He is tall and slender, with curly hair, a kind smile and serious eyes. He was raised by deaf parents in Riverside and attended Gallaudet University in Washington, D.C., before moving to L.A. and becoming involved with Deaf West, eventually taking over leadership in 2012., and he considers himself as much an activist as he is an artist.
Still, deaf actors have struggled to gain a foothold in the mainstream world of American theater. That struggle has been aided in no small part by the L.A.-based nonprofit. Founded in 1991 by deaf actor Ed Waterstreet, Deaf West became the first regional theater company in the country led by a deaf artistic director.
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