Documentary and disability

Abstract

second contribution in Part Two is a brief but thought-provoking account by Nancy Bezant of her experience as a visually impaired actor. Negotiating space, sound and colleagues, dealing with pressured expectations of her performance and examining barriers to success for visually impaired performers are some of the features that Bezant sensitively discusses, from her personal perspective. The penultimate chapter of Part Two is an interview with James MacDonald, the writer of the play that concludes this book. In the play Balance is Stillness, MacDonald explores relationships and the complexity of interactions within physiotherapy environments. If I was to reflect upon possible downfalls of Peering Behind the Curtain, this is likely to highlight the lack of geographical spread amongst the contributions. The book is deeply rooted in western culture, with the United States and the United Kingdom being the focus. It would be great to see more unearthing of what is happening in disability theatre elsewhere, not only to inform and diversify but also perhaps to try and encourage, aiming to develop practice where there currently is little. In addition, I would have liked more interrogation of the term ‘disability theater’, which is commonly used throughout this book, not only for the editors but also for the contributing authors. What does the term encompass? What could it mean? How does it impact those who reject their work being labelled as ‘disabled’? To conclude, Peering Behind the Curtain, is a powerful compilation of writings, examining, challenging and celebrating the breadth of disability theatre that has been produced in the late twentieth and early twenty-first century. I would recommend this book to artists, researchers and spectators alike, as an opportunity to challenge our understanding, experience and acceptance of disability theatre work.