Abstract

Figs in Wigs integration of a British Sign Language interpreter in their performance of Little Wimmin is a compelling example of inclusive theatre for D/deaf audiences. By examining the works of foundational D/deaf studies scholars Neil Glickman and Paddy Ladd alongside the works of contemporary D/deaf scholars such as Tom Humphries, Carol Padden, and Michael Richardson we can gain valuable insight into the evolution of the D/deaf culture and identity. This paper will refer to diversity scholar Susanne Ricee when defining the difference between accommodation, access, accessibility, and inclusivity. It will explore the current advantages and limitations of D/deaf accommodations available in British theatre today and discuss how the greater demand for accessibility emphasizes the need for inclusivity as the goal. An examination of the limitations and successes of Figs in Wigs' integration and interaction with BSL interpreter, Becky Barry, during their performance of Little Wimmin will point to an effective way of bridging the gap between access and inclusivity in the theatre.

Degree

College and Department

Fine Arts and Communications; Theatre and Media Arts

Rights

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