| dc.description |
This thesis explores the best practices for developing theatre for, and theatrical participation with, blind and visually-impaired children in educational settings in the UK and Thailand. It draws on perceptions of professional practitioner artists regarding blind theatre in the UK and Thailand. Through interviews and rehearsal observations, this project contributes to existing knowledge of the overall research field and offers new insight into the essence of the parametres for creating theatre for blind and visually impaired children in educational settings. Valuable practitioner perspectives provide the crucial foundation for investigating the means of developing performances for/with blind and visually-impaired people, particularly concerning modes and elements of performance, the aesthetic values of this work and its usefulness in educational settings.
This thesis expands on questions about diversity and equality by joining a vibrant conversation about social inclusion and theatre and the socio-political and cultural facets of theatrical practices with an educational focus. The primary purpose of the thesis is to investigate directing methods for creating theatre for blind and visually impaired young students.
In addition, I argue that the aesthetics in many mainstream performances that seem to rely heavily on visual stimulation can be reconsidered and developed more effectively and inclusively. This thesis investigates non-sighted stimulation and multi-sensory elements in the performances for disabled children that have been used by theatre practitioners in the UK and Thailand, looking at the principles of theatre techniques used to engage the audience members with theatre and performance, the way that the theatre makers embed aesthetic principles in their works and the methods for training sighted, blind or visually-impaired performers.
This thesis aims to determine the best practices and essential theatre techniques that blend effective strategies for creative drama practice to be used by instructors and facilitators. The thesis also seeks to provide a range of comments on the effects of current arts policy implementation professionally, and in educational settings, in relation to people with disabilities in the UK and Thailand. |
|