{"id":1174,"date":"2017-02-28T15:30:25","date_gmt":"2017-02-28T15:30:25","guid":{"rendered":"http:\/\/disabilityartsinternational.flywheelsites.com\/resources\/the-aesthetics-of-access\/"},"modified":"2019-10-17T12:47:06","modified_gmt":"2019-10-17T12:47:06","slug":"the-aesthetics-of-access","status":"publish","type":"resources","link":"https:\/\/www.disabilityartsinternational.org\/resources\/the-aesthetics-of-access\/","title":{"rendered":"The Aesthetics of Access"},"content":{"rendered":"\n
Arts and equalities journalist Paul F Cockburn asks how the consideration of accessibility has influenced the aesthetics of disability theatre and performance.<\/strong><\/p>\n\n\n\n Necessity, according to the old proverb, is the mother of invention\u2014and performance is no exception. Soon after Jenny Sealey MBE became Artistic Director of Graeae Theatre Company in 1997, she faced a significant problem\u2014the company had a commitment to the Arts Council to do another show, but hardly any money. Certainly, there wasn\u2019t anything to pay for the BSL interpreters and audio describers that were, by then, an intrinsic part of any Graeae production.<\/p>\n\n\n\n