Communication covers several different styles and modes. Regardless of these variations, communication is an essential part of daily life. It can present in many different forms, but when communication fails the results can be devastating. When communication is broken or distorted in some way, speech-language pathologists are often brought in to diagnosis and treat the disorder. Additionally, they are responsible for some degree of counseling with their clients and families. Counseling includes providing information, recommending treatments, and guiding families through the process of therapy. However, it also involves advocating for clients’ needs and encouraging independence and self-efficacy. These less clinical and more sensitive aspects of therapy are often the most difficult to produce effectively. However, theatre and storytelling provide an alternative system and opportunity to deliver these necessary components of counseling.

Communication can occur in various modes including spoken, written, signed, danced, performed, sung, drawn, gestured—the list goes on and on. Storytelling relies on one or more of these communication methods. Based on these methods, the teller and audience must both understand the language being expressed, particularly in the mode of sign language. In American Sign Language, there are various dialects and regionalisms that occur. Other unique elements of sign language include the use of facial expression to relay intonations and inflection, as well as exaggeration used to express volume and intensity.

With these features in mind, I propose an analysis of sign language elements in theatre. This research will include a detailed study of the structure of sign language, such as syntax, grammar, and pragmatics. I will look closely at organizations, like Hands On, that adapt and translate theatre performances into American Sign Language. The analysis will study how Deaf Theatre uses these intrinsic elements of sign language in the production of theatre. What aspects of sign language can also be seen in the theatrical arts and performance? How do these similarities influence Deaf Theatre?

Additionally, research will be collected on storytelling methods. Several experts in writing and theatre have suggested ideal ways for narratives to be written and performed. I will gather and analyze many of these “ideal” pieces to understand and identify the qualities that make those stories effective. What are the essential components of good storytelling? What do these suggested effective writings have in common? How easily can ideal narratives be replicated? How do people become effective storytellers? How is a signed story different from a spoken story?

Theatre is just one specific method of storytelling. It encompasses various styles and genres; additionally, there are several approaches to creating an excellent piece of theatre. In An Ideal Theatre: Founding Visions for a New American Art, Todd London complies various articles, essays, and manifestos from the most transformative writers and visionaries of American Theatre. This text will be thoroughly analyzed to deepen the understanding of what necessary elements of theatre create “great theatre.” Special attention will be given to the genres of realism and naturalism, as they most frequently express memoirs and autobiographical aspects of writing. The arrival of realism in American theatre coincides with Freudian studies of psychology and self-reflection. This simultaneous development is often credited for the increase in slice-of-life biographical plays during this period.

Recently, stories have begun to reflect the human desire for self-discovery. There has been an increase in literature related to personal narrative. These stories recount individuals’ anecdotes, comment on biographical information, and ruminate on the human identity. In order to gain a greater understanding of this newly popular style, an analysis of Paul John Eakin’s book, How Our Lives Became Stories: Making Selves, will be done. From this text, focus will be given to the areas of human identity when writing subjects and characters. How does “the self” relate to the subject when writing memoirs or autobiographical accounts? Analysis will also include the close reading of several published memoirs and autobiographies.

With these elements of theatre and personal storytelling in mind, there are two particular plays that will be analyzed. Fires in the Mirror: Crown Heights, Brooklyn, and Other Identities by Anna Deveare Smith is a compilation of interviews taken after the riots of 1991. All of the monologues are recorded verbatim from various people that were impacted by this uprising in Crown Heights. The monologues are grouped into themes that explore the ideas of differences in race, appearance, and identity. Nina Raine’s play Tribes focuses on the relationships between various members of the Deaf world and the hearing world. It explores the culture and beliefs of both communities and these aspects interact. The play also heavily relies on American Sign Language. These two plays will provide examples of writing techniques and how American Sign Language is incorporated into theatre.

In many situations, the dramatic arts have been used to assist children with communication disorders. Having another person share their story can mitigate the feelings of isolation and anxiety that often accompany communication issues. By translating stories and narratives about these disorders into a play, clients will have the opportunity to relate to characters and even portray them. One activity that can be found in almost every therapy session, regardless of diagnosis, is a role-play task. In this activity, the clinician provides a situation for the client in which he or she has to advocate for their needs. Usually it involves asking for accommodations, such as preferential seating because of a hearing impairment or requesting written outlines because of an auditory processing issue. These role-play scenarios give clients the opportunity to build self-confidence before encounter the actual situation. Practicing theatre and scene work can also bolster confidence and prepare these clients for new and unexpected circumstances.

With this background understanding of narrative and storytelling techniques, I will use these guidelines and methods to craft my own play. This play will explore the elements of selfhood particularly in the Deaf community. It will discuss various aspects of communication and its imperfections. Characters from both the hearing world and the Deaf community will be portrayed and their interactions will be displayed. The objective of this project is to draw on different experiences of “self” and expose those stories in a play. Representing these narratives will provide an audience with an opportunity to experience the “otherness of others”—others’ unique traits, qualities, quirks, abilities, talents. Presenting this information through a theatrical form will heighten the experience by portraying the story in a multifaceted medium. Just as the characters will be taken from various backgrounds, this play will relate to a diverse audience.

Creating a play with different stories and narratives about self-identity and communication disorders will provide a resource for people experiencing similar difficulties; however, it will also allow others to gain a better understanding of how these disorders can impact their peers.