ABSTRACT
Understanding of how to create inclusive performance experiences for spectators with disabilities remains nascent in research, policy and practice. In this chapter, I survey the state of knowledge in this field – or, as it turns out, fields, given that specialist knowledge of sign language interpretation for d/Deaf spectators, audio description for blind spectators and relaxed performance for neurodiverse spectators has developed separately, without intersection. I then investigate recent efforts to create inclusive aesthetics that incorporate accessibility features into performance work, as an integral part of the aesthetic, rather than as interpretations, captions or descriptions alongside the work. I examine why this ‘Universal Design’ approach has been embraced with enthusiasm, both by disabled producers and spectators and by non-disabled producers and spectators. I consider the benefits and the potential drawbacks of a ‘Universal Design’ approach – if, paradoxically, the aestheticisation of access features prevents them from fulfilling their conventional access purpose and/or makes producers think conventional access features are no longer required now that a ‘Universal Design’ ostensibly meets the needs of all spectators. Consolidating to date disconnected accounts into a coherent analysis of current approaches to practice for the first time, I identify key recommendations – in particular, engaging disabled artists and allies who have lived experience of disability aesthetics and culture before and during as well as after a performance’s creation – to support future research, policy and practice in the field.
