| abstract |
The conversation of disability rights advocation has been one on my mind long before I ever
came to Drew University. It was imperative to me, as someone with a disability, to write a piece
of theatre of which was created for and by members of the disabled community. Thus, my
original musical Autonomous was formed. But not overnight. This two-year process has been
some of the best and worst of the theatrical experiences I've had throughout my life. Though the
hours were long and the work, hard, all was satisfactory in reminding myself for whom this piece
was created for. When surveying works of theatre throughout the years, what each severely lacks,
even in the modern day, is disability representation. Specifically, plays, musicals, or any art form
of which had the potential to have been performed, produced, and created by disabled identifying
individuals. Namely for the sake of other members of the community finding representation in
media and other entertainment formats. Also, for the betterment of educating the able-bodied and
making for a safer and more accepting space for all kinds of people.
For this reason, after extensive research regarding the histories of disability awareness and its
place in theatre, I created Autonomous, which I would like to identify as the truest form of
intentional theatre. It is the story of an average man who through a series of unforeseen
circumstances and misunderstandings becomes immersed in a world all unlike his own. Though
on the surface, it is a rather ridiculous narrative of steampunk pirates and sea faring adventures,
its true purpose exposes the division between the disabled and the able-bodied; the
discrimination, intentional or not, and the overall lack of education of what it truly means to be a
disabled individual. Additionally, the aim was to explore the beauty behind a disability and how
it is not something to be feared or reviled. In an ideal performance setting, the entirety of the
cast, as well as the crew and creative team would be those who identified as part of the
community. Unfortunately, however, this particular performance was scaled back as a simplified
reading for the completion of my Honors Thesis as there was a significant lack of numbers in the
disabled populace of the University's Theatre Department at this time. Regardless, it was
imperative to me that it be shared in some way with the committee, as well as the Drew
population, to reflect the importance of finding love in one's disability and overcoming the
impossible.
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