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Theatricalised BSL is based on BSL but taking on the visuality and expanding on it. Sign interpreted performances is where a Sign Language interpreter standing at the side of the stage signs what is being spoken on stage or it could be integrated in the performances. – Can you explain the difference between eg sign interpreted performances, theatricalised BSL, sign performance and visual language? There are some iconic signs such as plane, bird and baby which we could incorporate in V.V. It came from the concept of looking at the world in a visual way and to capture the images by using facial expressions, hand movements and body language without using either English or BSL. One style was Visual Vernacular (V.V.) which was not based on English. It was where we experimented with a variety of styles such as where Jeni would speak English and I would sign BSL but independently of each other as opposed to have Jeni interpreting for me. When fingersmiths was set up by Kaite O ’ Reilly, Jeni Draper and myself, we were looking into “ Equality in both languages, English and BSL ”. Jean toured internationally and to London’s West End in this groundbreaking play). It was the same when I did Children of a Lesser God (nb. When I did ‘ Hearing ’ at Birmingham Repertory Theatre, a play with all hearing cast, the language I used was the natural language of BSL. It was pretty much the same when I worked with National Theatre of the Deaf in USA where the ASL (American Sign Language) on stage was delivered in a poetic style. It was not the everyday language deaf people were using. A combination of mime and stylised signs.
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She was trained in Mime so the language we conveyed was called Sign Mime. I trained with British Theatre of the Deaf, run by Pat Keysell. Jean in poster design for ‘Frozen’ by Bryony Lavery, Fingersmiths last production. There has also been increasing interest in this process, and I’m delighted Jean took some time in the midst of rehearsals to answer some basic questions I asked her about her work and this alchemic transformation: It is endlessly fascinating for me, how concepts and ideas I have shaped in printed words and English become visual and are moulded into something else. I’ve written academically about our collaborative process in translation from written English to visual as Fellow of the International research Centre ‘Interweaving Performance Cultures’, Freie Universitat, Berlin. We are in the final stages of rehearsals before a national tour 18 Sept – 1st Nov, and of course Jean has been involved, as central to the production in aesthetic and concept are sections of theatricalised sign and visual language. I have been working again recently with Jean on Woman of Flowers, my latest script and a reinvention of the Bloudewydd myth from The Mabinogion for Forest Forge Theatre Company. Jean St Clair’s encouraging feedback to Sophie Sone of ‘Woman of Flowers’ early rehearsals
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