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International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.

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Resumo:The IVT was created in Paris in 1977 by a North American Deaf actor, Alfredo Corrado, and Jean Grémion, a French theater director. The then hegemonic biomedical paradigm of deafness presented it as a malfunction and deaf people as subjects to be repaired. The idea that sign language could be a medium of artistic creation was unthinkable, including for Deaf people. We will start with analyzing the first two creations of the IVT: [ ] (1978) and ][ (1979). These enigmatic titles delimit a territory where the community could express, in the case of the first creation, and an external openness, in the case of the creation. Revealing how self-repair and the relation to others are put at work, these titles invite us to discover what emptiness causes in terms of aesthetic and political challenges. The project of the IVT resulted as an outlet from "hurt identities" (Pollak 1984), a place where one could heal not from a malfunction, but from the damages caused amongst the Deaf by the impulse to repair them. Finally, we will show the leading role of IVT in the emancipatory impetus that will drive the French Deaf political combats in the following decades.
Autores principais:Benvenuto, Andrea
Outros Autores:Schetrit, Olivier
Assunto:Deaf Sign language Theatre Repair Emancipation
Ano:2023
País:Portugal
Tipo de documento:artigo
Tipo de acesso:unknown
Instituição associada:Universidade Católica Portuguesa
Idioma:inglês
Origem:Diffractions
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author Benvenuto, Andrea
author2 Schetrit, Olivier
author2_role author
author_facet Benvenuto, Andrea
Schetrit, Olivier
author_role author
country_str PT
creators_json_txt [{\"Person.name\":\"Benvenuto, Andrea\"},{\"Person.name\":\"Schetrit, Olivier\"}]
datacite.creators.creator.creatorName.fl_str_mv Benvenuto, Andrea
Schetrit, Olivier
datacite.rights.fl_str_mv http://purl.org/coar/access_right/c_abf2
datacite.subjects.subject.fl_str_mv Deaf
Sign language
Theatre
Repair
Emancipation
datacite.titles.title.fl_str_mv International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
dc.creator.none.fl_str_mv Benvenuto, Andrea
Schetrit, Olivier
dc.format.none.fl_str_mv application/pdf
dc.identifier.none.fl_str_mv https://doi.org/10.34632/diffractions.2023.12221
dc.language.none.fl_str_mv eng
dc.publisher.none.fl_str_mv Universidade Católica Portuguesa
dc.rights.none.fl_str_mv http://purl.org/coar/access_right/c_abf2
dc.rights.rights.copyright.fl_str_mv https://creativecommons.org/licenses/by/4.0
dc.source.none.fl_str_mv Diffractions; No. 7 (2023): DEAF CULTURE; 131-151
Diffractions; N.º 7 (2023): DEAF CULTURE; 131-151
2183-2188
10.34632/diffractions.2023.n7
dc.subject.none.fl_str_mv Deaf
Sign language
Theatre
Repair
Emancipation
dc.title.fl_str_mv International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
dc.type.none.fl_str_mv http://purl.org/coar/resource_type/c_6501
description The IVT was created in Paris in 1977 by a North American Deaf actor, Alfredo Corrado, and Jean Grémion, a French theater director. The then hegemonic biomedical paradigm of deafness presented it as a malfunction and deaf people as subjects to be repaired. The idea that sign language could be a medium of artistic creation was unthinkable, including for Deaf people. We will start with analyzing the first two creations of the IVT: [ ] (1978) and ][ (1979). These enigmatic titles delimit a territory where the community could express, in the case of the first creation, and an external openness, in the case of the creation. Revealing how self-repair and the relation to others are put at work, these titles invite us to discover what emptiness causes in terms of aesthetic and political challenges. The project of the IVT resulted as an outlet from "hurt identities" (Pollak 1984), a place where one could heal not from a malfunction, but from the damages caused amongst the Deaf by the impulse to repair them. Finally, we will show the leading role of IVT in the emancipatory impetus that will drive the French Deaf political combats in the following decades.
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identifier.doi.fl_str_mv https://doi.org/10.34632/diffractions.2023.12221
instacron_str UCP
institution Universidade Católica Portuguesa
instname_str Universidade Católica Portuguesa
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oai_identifier_str oai:ojs.revistas.ucp.pt:article/12221
organization_str_mv urn:organizationAcronym:ucp
person_str_mv Benvenuto, Andrea
Schetrit, Olivier
publishDate 2023
publisher.none.fl_str_mv Universidade Católica Portuguesa
reponame_str Diffractions
repository_id_str urn:repositoryAcronym:diff
service_str_mv urn:repositoryAcronym:diff
spelling en-USInternational Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.Benvenuto, AndreaSchetrit, OlivierDeafSign languageTheatreRepairEmancipationCopyright (c) 2023 Andrea Benvenutohttp://purl.org/coar/access_right/c_abf2https://doi.org/10.34632/diffractions.2023.12221DOIhttps://revistas.ucp.pt/index.php/diffractions/article/view/12221URLHasVersionhttps://revistas.ucp.pt/index.php/diffractions/article/view/12221/15378URLHasVersionhttps://doi.org/10.34632/diffractions.2023.12221DOI2023-11-10en-USThe IVT was created in Paris in 1977 by a North American Deaf actor, Alfredo Corrado, and Jean Grémion, a French theater director. The then hegemonic biomedical paradigm of deafness presented it as a malfunction and deaf people as subjects to be repaired. The idea that sign language could be a medium of artistic creation was unthinkable, including for Deaf people. We will start with analyzing the first two creations of the IVT: [ ] (1978) and ][ (1979). These enigmatic titles delimit a territory where the community could express, in the case of the first creation, and an external openness, in the case of the creation. Revealing how self-repair and the relation to others are put at work, these titles invite us to discover what emptiness causes in terms of aesthetic and political challenges. The project of the IVT resulted as an outlet from "hurt identities" (Pollak 1984), a place where one could heal not from a malfunction, but from the damages caused amongst the Deaf by the impulse to repair them. Finally, we will show the leading role of IVT in the emancipatory impetus that will drive the French Deaf political combats in the following decades.Universidade Católica Portuguesaapplication/pdfen-USDiffractions; No. 7 (2023): DEAF CULTURE; 131-151pt-PTDiffractions; N.º 7 (2023): DEAF CULTURE; 131-1512183-218810.34632/diffractions.2023.n7engjournal articlehttp://purl.org/coar/resource_type/c_6501literatureVoRhttp://purl.org/coar/version/c_970fb48d4fbd8a85https://creativecommons.org/licenses/by/4.0
spellingShingle International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
Benvenuto, Andrea
Deaf
Sign language
Theatre
Repair
Emancipation
status SINGLETON
status_str VoR
subject.fl_str_mv Deaf
Sign language
Theatre
Repair
Emancipation
title International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
title_full International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
title_fullStr International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
title_full_unstemmed International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
title_short International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
title_sort International Visual Theatre (IVT): amongst Deaf identity repair processes and emancipatory impulse.
topic Deaf
Sign language
Theatre
Repair
Emancipation
topic_facet Deaf
Sign language
Theatre
Repair
Emancipation
url https://doi.org/10.34632/diffractions.2023.12221
visible 1