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The 19 percent: Disability and actor...

McNish, Deric.

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The 19 percent: Disability and actor training in higher education.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	The 19 percent: Disability and actor training in higher education./
作者:	McNish, Deric.
面頁冊數:	209 p.
附註:	Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.
Contained By:	Dissertation Abstracts International74-12A(E).
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3592338
ISBN:	9781303333453

The 19 percent: Disability and actor training in higher education.
McNish, Deric.

The 19 percent: Disability and actor training in higher education. - 209 p.

Source: Dissertation Abstracts International, Volume: 74-12(E), Section: A.

Thesis (Ph.D.)--University of Colorado at Boulder, 2013.

The purpose of this dissertation is to study training methods for students with disabilities in college acting courses. Although more than 19% of Americans live with some form of documented disability, this is a minority that is virtually non-existent on stage and screen. Ablebodied actors play nearly all of the available roles, a practice that some consider a modern form of minstrelsy. As written, the few characters seen often reflect outdated disability models, perpetuating stereotypes that can be reductive and harmful. There is a troublesome lack of authenticity in writing and casting. One of the many reasons for this lack of visibility may be a disproportionately low number of trained actors with disabilities in the professional market. This research addresses the barriers that students with disabilities face when they seek actor training in higher education.

ISBN: 9781303333453Subjects--Topical Terms:

522973
Theater.

The 19 percent: Disability and actor training in higher education.
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500 $a Adviser: Oliver Gerland.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2013.
520 $a The purpose of this dissertation is to study training methods for students with disabilities in college acting courses. Although more than 19% of Americans live with some form of documented disability, this is a minority that is virtually non-existent on stage and screen. Ablebodied actors play nearly all of the available roles, a practice that some consider a modern form of minstrelsy. As written, the few characters seen often reflect outdated disability models, perpetuating stereotypes that can be reductive and harmful. There is a troublesome lack of authenticity in writing and casting. One of the many reasons for this lack of visibility may be a disproportionately low number of trained actors with disabilities in the professional market. This research addresses the barriers that students with disabilities face when they seek actor training in higher education.
520 $a An extensive survey of existing literature addresses primary and secondary questions. A series of interviews reveals many positive practices that can contribute to a more welcoming and inclusive actor training program. Wellknown instructors of acting, voice, and movement share wisdom earned from decades of experience. Actors with disabilities that have worked professionally and completed an actor training program provide valuable insight by sharing class experiences and personal challenges, information which may prove useful for future instructors and students. These interviews gather some valuable perspectives on a largely unexplored topic.
520 $a Some strategies that have been uncovered include ways to adapt popular acting, voice, speech, and movement pedagogies for the greatest variety of students, ways to effectively communicate with college students with disabilities, and responsible strategies for portraying disability identity during scene work. Some of these findings reflect the principles of Universal Design for Learning, which can be useful in practice-based theatre courses.
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