In Shakespeare’s era an audience went to hear a play. In fact the word “audience” implies auditors, listeners, those who hear. But can a Shakespeare play be experienced and enjoyed by those who cannot hear? Can the subtle sweet strains of poetry be conveyed in other ways? Can the crescendos and decrescendos of passion be transmitted through the other senses? They can. And they must. Deaf students are tasked with learning Shakespeare, along with every other British student. And beyond this, the artistry of sign language brings fresh life to Shakespeare’s words, invigorating them, embodying them, setting them ablaze.
All this I discovered during this incredible research and development project through the Royal Shakespeare Company. Our aim was to adapt the RSC educational material for D/deaf children. We spent a week with a remarkable team which included a deaf actor and his interpreters, sign language performers, a specialist in deaf education and a selection of educators from the RSC. People with disabilities advocate for a “nothing about us without us” policy, a valuable principle which was keenly embodied through the presence of the deaf actor, Stephen Collins. He showed us how British Sign Language can be extended into dramatic forms, with the art form of Visual Vernacular being the pinnacle of this, a fascinating combination of mime, sign language, and a playful use of perspective. He challenged us to view difficulties that deaf children had with language and concepts as areas where access needs to be opened, rather than insurmountable obstacles. His very presence was evidence that deaf people not only can experience and enjoy Shakespeare but can enrich the engagements of others with their talents.
Often the delay that deaf children experience in their literacy and cognitive levels arises from limited exposure and not limited ability. They are held back from knowledge that might be deemed too challenging for them, whereas more exposure and adaptations could be the answer. Many of the adaptations arising from our research would in fact also help hearing children to grasp the texture and tones of Shakespeare more readily. Finding ways to embody metaphorical language, creating the environments of the scenes physically, and playing games that orientate participants to the geography and characters in the plays, are all adaptations for deaf children that would help all children.
As part of our preparation for this week of research we watched Macbeth at the Royal Shakespeare Theatre which included a sign language performing artist. During the after show discussion, many hearing audience members commented on how visually beautiful and captivating her performance was, describing how it enabled them to understand and appreciate the complex speeches better. Thus, paradoxically, through sign language the audience were better able to hear a play.
Lauren Bates, MA Shakespeare and Creativity