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The National Theatre of the Deaf (NTD) is a Connecticut-based theatre company founded in 1967. It is the oldest theatre company in the United States with a continuous history of domestic and international touring, as well as producing original works. [ 2 ]
Bernard Bragg (September 27, 1928 – October 29, 2018) was a deaf actor, producer, director, playwright, artist, and author who is notable for being a co-founder of the National Theatre of the Deaf and for his contributions to Deaf performing culture.
Chuck Baird (February 22, 1947 – February 10, 2012) [1] was an American Deaf artist who was one of the more notable founders of the De'VIA art movement, [2] [3] an aesthetic of Deaf Culture in which visual art conveys a Deaf world view. [4] [5] His career spanned over 35 years and included painting, sculpting, acting, storytelling, and teaching.
In 1967, Fant helped establish the National Theater of the Deaf in Waterford, Connecticut and the Registry of Interpreters for the Deaf. [6] Fant was also a sign language poet, using creative alterations in space and time of ordinary signs to create a type of sign language performance art. [7]
The National Theatre of the Deaf (NTD) first began in 1967. [24] Prior to the NTD, deaf theatre consisted of three small, amateur theatre groups, and local deaf clubs where individuals could perform mime shows, read poems, or where captioned films were shown. [25] The deaf world was lacking a platform where they could express themselves and ...
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The Queensland Theatre of the Deaf opened in 1975 and closed unexpectedly in 2005. During the period between 1970 and 2000, other theatre companies existed for periods of 2–30 years, such as Victoria Theatre of the Deaf and the Gestures Theatre of the Deaf. [25] Deafferent Theatre was founded in 2016 and is still operating today. [26]
Conley is the most widely produced, living deaf playwright [citation needed]; his plays explore a broad palette – from the Deaf perspective – of circumstances with and without hearing characters, allowing Deaf characters to interact minus the direct influence that the dominant (hearing) culture might exert.