The DisAbility Project: A Model for Autism-Specific Creativity and Civic Engagement Within the Broader Context of Difference

Abstract

In discussing how theater humanizes societies, Woodruff (2010) notes that theater requires rules for behaviors—when to be quiet, when to applaud, when to arrive, when to leave, and how to listen—that establish societal norms. Woodruff cautions that without these public events, individuals become isolated and societies become non-cohesive. In essence, segregation kills the sense of belonging, and societies can be destroyed once individuals no longer feel they can relate to other members of the society. Whether or not a society integrates individuals with behavioral, developmental, and physical “disabilities” into the larger society shapes societal expectations both for people with and without such points of difference.

Appendices

Appendix 1: You Going to the Show?

• PERSON 1: You going to the show?

• PERSON 2: Don’t know. Are you going?

• PERSON 1: Don’t know. It’s kind of weird.

• PERSON 3: No kidding. I heard they’re in wheelchairs. What are they going to do, feed them their lines?

• PERSON 1: How else are they going to remember them? There’s no other way.

• PERSON 2: How would you remember your lines? You would memorize them. They memorize them, dummy.

• PERSON 3: I still don’t know. I feel weird sitting there, staring at a bunch of people. Doesn’t it freak them out?

• PERSON 2: Why would it freak them out? They’re used to being stared at.

• PERSON 1: ‘Cuz they’re, you know, different.

• PERSON 3: And weak.

• PERSON 1: Yeah, and come on. They can’t even walk.

• PERSON 2: Hey! My grandma can’t walk!

• PERSON 3: Yeah, but that’s your grandma and she’s old.

• PERSON 1: And you don’t HAVE to go see your grandma perform on stage.

• PERSON 3: That’s right. I kind of resent having to be here. What’s it supposed to be? The politically correct thing to do? Watch a bunch of handicapped people try to act.

• PERSON 2: Whoa, whoa, whoa!!! Wait a minute—

• PERSON 1: Aren’t they calling them, disabled these days?

• PERSON 3: WHATEVER!!!!!!

• PERSON 1: I wouldn’t be here if I didn’t HAVE to come for credit. That is so lame.

• PERSON 2: Actually, my class (or department-customize so it fits the venue) doesn’t HAVE to be here.

• PERSON 1: They don’t? Why are you goin’ then?

• PERSON 2: I thought it might be interesting and I kinda felt sorry for them. I didn’t want no one to show up.

• PERSON 3: I guess I do kinda feel sorry for them, too. But I always feel so guilty around people like them.

• PERSON 2: Why?

• PERSON 3: Because I can walk and they can’t.

• PERSON 2: So what? They use a wheelchair. Big deal. You get around usin’ a car and no one feels sorry for you.

• PERSON 3: Hey! You’re talking about my ride! Don’t dis the wheels! My wheels are sacred. Plus, I don’t even know anyone who uses a wheelchair.

• PERSON 2: I do. My grandma.

• PERSON 1: But that’s not the same. That’s family!

• PERSON 2: They’re people just like us. They have families, eat, sleep, and go to the bathroom just like we do.

• PERSON 1: Whoa! I know they go to the bathroom, but I know they don’t go like we do.

• PERSON 3: That’s gross! I don’t even want to think about it!

• PERSON 1: You think that’s gross. What if they have sex?

• PERSON 3: They don’t have sex! They can’t!

• PERSON 2: They’re not the only ones not having sex. Look at your sex life.

• PERSON 3: Let’s leave my sex life out of it.

• PERSON 2: I think we already have! (Chairs circle)

• PERSON 1: Hey audience, we’re not what you expected, are we?

• PERSON 2: Welcome to a guilt-free zone. Sit back, relax, and enjoy yourselves. We are here to educate and entertain.

• PERSON 3: If you don’t have a good time, then we don’t have a good time, deal?

• PERSON 1 & 3: And we wanna have a good time

• ALL: So, let the show begin!!

Appendix 2: Facts and Figures

Version #1: For Young Audience, 15 Items

• ONE: That is so retarded.

• TWO: A long, long time ago, they thought people got disabilities because they were bad and deserved them.

• THREE: It would be horrible to be confined to a wheelchair.

• FOUR: During witch trials, many of the women who were tried for witchcraft had disabilities.

• FIVE: Man, you are so lame.

• SIX: Court jesters (like the hunchback) with physical disabilities were common entertainment through much of European history.

• SEVEN: Those kids are such freaks.

• EIGHT: They used to sell tickets at carnivals to see people with disabilities, saying they were freaks or monsters.

• NINE: Hey, why don’t you look where you’re going?! Are you blind?

• TEN: People with disabilities are the largest minority in the United States.

• ELEVEN: Hey, four eyes!

• TWELVE: He/she/ze ⁸ is psycho.

• THIRTEEN: Many people with disabilities have a hard time working because it is hard for them to get a ride to work or employers won’t give them a job.

• FOURTEEN: You are so ADD.

• FIFTEEN: Most people with disabilities live below the poverty line.

Version #2: For Adult Audience, 16 Items

• ONE: That is so retarded.

• TWO: In medieval times, they thought people got disabilities because they were bad and deserved them.

• THREE: The industry has been crippled.

• FOUR: During witch trials, many of the women who were tried for witchcraft had disabilities.

• FIVE: He’s a lame duck.

• SIX: Court jesters with physical disabilities were common entertainment through much of European history.

• SEVEN: Those kids are such freaks.

• EIGHT: Freak shows exhibiting the bodies of disabled men and women were common entertainment in the Victorian period.

• NINE: Hey, why don’t you look where you’re going?! Are you blind?

• TEN: People with disabilities are the largest minority in the United States.

• ELEVEN: Hey, four eyes!

• TWELVE: In many places in the world, children with physical disabilities are killed or abandoned at birth.

• THIRTEEN: He/she/ze is psycho.

• FOURTEEN: People with disabilities are the most underemployed population in the country. Mostly because our transportation systems make it difficult for them to get jobs, or employers won’t hire them.

• FIFTEEN: You are so ADD.

• SIXTEEN: Most people with disabilities live below the poverty line.

Appendix 3: Employment

• [Depending on the audience (age, background, etc.), there are two possible endings to this play, to allow for maximal audience participation and creativity.]

• Characters: Sales Person, Manager, Job Seeker, Wild Shopper #1, Wild Shopper #2, Wild Shopper #3, Wild Shopper Crowd

• (Sales Person is found amidst the Wild Shoppers. The roar of the shoppers compels the Sales Person to run to the front of the store, excited and flustered.)

• SALES PERSON: It’s a jungle out there! I’m putting in for combat pay.

• MANAGER: You’re just a little tired.

• SALES PERSON: I won’t go back in there.

  (Wild Shoppers roar and improvise comments again. Items of clothing go flying.)

  I won’t. (Starts to sob.)

• MANAGER: There, there—

• SALES PERSON: Have you ever worked the post-Christmas sale?

  (More frenzy from the Wild Shoppers. Perhaps more roar. Sales Person sobs.)

  Post-Christmas. Pre-Christmas. Columbus Day?!!! I need more help.

• MANAGER: We’re doing all we can. But good help is hard to find.

  (Sales Person continues to sob. In rolls Job Seeker who is using a wheelchair.)

• JOB SEEKER: Excuse me. I’m here about the job.

• MANAGER: Oh, you must be looking for the sheltered workshop. It’s at the other end of the mall.

• JOB SEEKER: No, I meant the job here. The one that was listed in the newspaper.

• MANAGER: Oh. There must be some mistake. You see, we. Sell. Clothes.

• JOB SEEKER: Yes, I can see that. And I wear clothes. That’s why I’m here. I live to accessorize.

• SALES PERSON: Fantastic! I love what you’re wearing.

  (Manager pulls Sales Person aside to talk with her privately.)

• MANAGER: Excuse me. We can’t hire her. It’ll turn off the customers.

• SALES PERSON: Oh, I don’t know. She’s more enthusiastic than most of the people we have working on the floor. And perky. You did say that perky was part of the job description. And she obviously loves clothes.

• JOB SEEKER (To audience): I do love clothes. I get my inspiration from Project Runway—only the best designs.

• MANAGER: It’s not just that. The aisles are too crowded. She couldn’t get through.

  (Wild Shoppers roar.)

• JOB SEEKER: I’d really like to work here. If you’d just take a look at my resume you could see I’m qualified.

• SALES PERSON: And I’d like to do something but my hands are tied.

• JOB SEEKER: Can this situation be saved?

  (Everyone hums theme song from Jeopardy. A Wild Shopper breaks away from the group to offer an alternative scenario.)

• WILD SHOPPER #1: Excuse me. I have an idea. Could we roll this scene back a little?

  (The Wild Shopper, Sales Person and Manager mime rolling back of time. The scene resumes.)

• JOB SEEKER: I’d really like to work here. If you’d just—

• SALES PERSON: And I’d like to do something but my hands are tied.

• WILD SHOPPER #1: (Approaching Sales Person) I have been here for an hour and a half and no one has offered to help. Or even said hello. What you need around here is a little more friendliness. Why couldn’t she work as a greeter?

• JOB SEEKER: (To audience) Hi. Hi. How ya doing? Thank you for coming. I love those shoes.

• WILD SHOPPER #1: See? She’s a natural.

• MANAGER: I don’t know. I’m not sure that something like that is in our budget.

• WILD SHOPPER #1: Sheesh. Even Wal-Mart has a greeter. I’m not shopping here any more!

  (Wild Shopper #1 goes back to crowd. Everyone hums the Jeopardy song again, this time a little faster. Wild Shopper #2 interrupts before it ends).

• WILD SHOPPER #2: You say the aisles are too crowded? I agree. It’s way too crowded in here. (To audience) How about if she were a cashier?

• JOB SEEKER: (To audience) Cha-ching! Cha-ching!

  (The Wild Shoppers roar)

• SALES PERSON: We do need to open up another register.

• MANAGER: I don’t know. It’s a pretty demanding job. How do I know that she is responsible?

• JOB SEEKER: Oh, I’m very good with money. You have to be when you love clothes as much as I do.

• MANAGER: I’m sure you are. (To Sales Person) But we’d have to make special arrangements for her. You know with the equipment and all. It could be expensive.

• WILD SHOPPER #2: How expensive could it be? She already has her own chair! Good luck, lady.

  [THERE ARE TWO POSSIBLE ENDINGS THAT BEGIN HERE]

Ending #1

• (Manager is clearly non-committal, so Wild Shopper #2 goes back to crowd. Wild Shopper #3 approaches.)

• WILD SHOPPER #3: You know anyone who loves clothes as much as she does—and I must say, you look mahvelous—

• JOB SEEKER: Thank you, dahling.

• WILD SHOPPER #3: Any one who loves clothes as much as she does should be a personal buyer.

• JOB SEEKER: Oh, yes. I’d love it! And I would love to spend somebody else’s money for them.

• MANAGER: How would she get around?

• JOB SEEKER: Hey, I got here, didn’t I?

• MANAGER: I don’t know.

• WILD SHOPPER #3: Well, I do. (To Job Seeker) Here’s my card. (To Manager)

  I’m with that little department store down the street.

• MANAGER: Not Le Blah Blah Blah?!

• WILD SHOPPER #3: The very one.

• SALES PERSON: And are you Monsieur/Madame Blee Blee Blee?!

• WILD SHOPPER #3: Indeed, I am.

• MANAGER and SALES PERSON: Oh no!

• WILD SHOPPER #3: And I know talent when I see it. (To Job Seeker) Shall we discuss the details over lunch? (He leaves, and she follows.)

• JOB SEEKER: Cha-Ching, Cha-Ching, Cha-Ching!

  (Wild shoppers roar, Sales Person and Manager look at each other in disbelief. Sales Person begins to sob and is absorbed into the crowd of Wild Shoppers.)

• (End Scene)

Ending #2

• (At this point, Sales Person could ask the audience if they have any ideas and then bring them up to discuss them. Improv is involved. Job Seeker remains enthusiastic and Manager is uncomfortable and unconvinced. After the audience has come up to propose several endings, the ensemble needs to bring the scene to a strong close.)

• SALES PERSON: (To Manager) So, what do you think?

• MANAGER: I’m not sure.

• JOB SEEKER: Look, I could be a greeter, a cashier. (Job Seeker, and perhaps Sales Person, mentions the other possibilities that have been raised.) Maybe you’ve just never worked with someone like me before. Please think about it. You know, open your mind.

• MANAGER: You’re right. And I really will.

• SALES PERSON: Just do it soon, please?! (The Salesperson returns to pack of Wild Shoppers who roar). I need help fast!

• (End Scene)

Notes

• 1. We use this term reluctantly in this context as part of the lingua franca of how human difference is discursively constructed in society and even among academics who challenge the notion of disability.

• 2. This value appears to be in place for the majority of autism-specific theatrical programs around the country, a prime example being the “theatrical intervention research program” called SENSE (“Social Emotional NeuroScience Endocrinology”) begun by Blythe Corbett of Vanderbilt University (see http://www.sensetheatre.com/staff.html). Interestingly, several Autism-specific programs combine person-first language with a more abstract reference to the condition and/or experience of autism itself, for example, Theater Horizon’s Autism Drama Program and the Autism Theater Initiative of the NY Theater Development Fund.

• 3. Facts and Figures was created by Joan Lipkin in conjunction with a class when she was an artist in Residence at Davidson College in North Carolina in March 2001. Lipkin instructed the group of students she was working with to create an original piece, and to research historical facts about the attitude and treatment of disabled people, as well as figures of speech concerning disabilities. Together they created Facts and Figures, which was originally done in performance at Davidson and then became part of the project’s repertoire. Employment was developed in rehearsal through conversations and improvisations by participants of the DisAbility Project and has undergone revisions over time, as suggested by the availability of different endings to the drama.

• 4. Epstein’s work in narration and trauma has led her to a home community of autism spectrum, to exploring what an autism-specific experience entails.

• 5. The fourth wall is the imaginary “wall” at the front of the stage in a traditional theater through which the audience views the drama. Speaking to the audience is known as “breaking the fourth wall.” It is distinct from soliloquys and asides, which are not necessarily dialogues with the audience.

• 6. The DisAbility Project carries a 501(c)(3) classification from the Internal Revenue Service and is primarily funded through grants and donations. The company does not charge for individual attendance, and so it relies on sponsors to fund its performances and on-going activities.

• 7. All of 12-year-old Naoki’s thoughts and expressions are ventriloquated through his editor, who may have taken liberties to produce such articulate observations.

• 8. “Ze” is an ungendered pronoun applied to those who do not identify with either masculine or feminine pronouns.