Abstract
As part of the conference proceedings for Active Speech: Sharing Scholarship on Teresa Deevy a practitioners’ panel was assembled to provide a forum for professional theatre makers to share their responses to and discuss their interpretations of Deevy’s theatrical work. This chapter provides an edited selection of that discussion in which Jonathan Bank reflects his response to the subtleties and subtext of Deevy’s work; Amanda Coogan and Lianne Quigley, theatre makers with Dublin Theatre of the Deaf, discuss why they adapted Deevy’s The King of Spain’s Daughter in 2015 as part of a national campaign by the Irish Deaf community that Irish Sign Language be recognised as an official language of the Irish State; and Caroline Byrne discusses how and why her 2015 Abbey Theatre production explored Katie Roche as a piece of non-realistic theatre.
Original language | English (Ireland) |
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Title of host publication | Active Speech |
Subtitle of host publication | Critical Perspectives on Teresa Deevy |
Editors | Una Kealy, Kate McCarthy |
Place of Publication | Cambridge |
Publisher | Open Book Publishers |
Publication status | In preparation - 2023 |
Keywords
- Deaf theatre
- Deaf theater
- Irish playwrights
- Arts
- Theatre
- Theatre practice
- Teresa Deevy