BRAZILIAN DEAF THEATRE: Perspectives between Theatre in Sign Language and Signed Dramaturgy.
Deaf Theatre. Signed Dramaturgy. Theatre in Sign Language. Deaf Culture
In theory, the concept of Brazilian Deaf Theatre was developed by me from the experience with the exchanges of theatrical categories, from the study/research of elements of signed dramaturgy and deaf theatre. By articulating epic theatre and dramatic theatre, which bring models of reflection to deaf theatre, I use theatre elements such as concepts, meanings, perspectives and historical facts between visual theatre and accessible theatre. I intend to expose the dramatic study, inserting the deaf theatre in an art and a dramatic literature. This research seeks to analyse how theatrical production can contribute to the creation of the concept of deaf theatre. In this sense, we focus on theatre and drama theorists such as Bertolt Brecht, Jean-Pierre Ryngaert, Jean-Pierre Sarrazac, Eugênio Barba, Patrice Pavis and others. After the theoretical reflections, I propose an analysis of the play Grito da Gaivota, based on the novel by the deaf French author Emanuelle Laborit. The analysis is based on the recreated dramatic text based on the novel and its respective staging to deal with the use of the theatre model. We analysed the show between script and video recorded in sign language theatre, under different aspects, centred on the importance of the Deaf Community, questioning some interpretations of bilingual theatre. Finally, I report how my experiences, sensibilities and experiences of deaf theatre as a deaf director and researcher have broadened my understanding of looking at each other from a political, cultural, linguistic and identity perspective of Deaf subjects.