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Books > Social sciences > Sociology, social studies > Social issues > Disability: social aspects
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Hearing Difference - The Third Ear in Experimental, Deaf, and Multicultural Theater (Hardcover)
Loot Price: R1,367
Discovery Miles 13 670
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Hearing Difference - The Third Ear in Experimental, Deaf, and Multicultural Theater (Hardcover)
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"Hearing Difference: The Third Ear in Experimental, Deaf, and
Multicultural Theater" investigates the connections between hearing
and deafness in experimental, Deaf, and multicultural theater.
Author Kanta Kochhar-Lindgren focuses on how to articulate a Deaf
aesthetic and how to grasp the meaning of moments of "deafness" in
theater works that do not simply reinscribe a hearing bias back
into our analysis. She employs a model using a device for
cross-sensory listening across domains of sound, silence, and the
moving body in performance that she calls the "third ear."
Kochhar-Lindgren then charts a genealogy of the theater of the
third ear from the mid-1800s to the 1960s in examples ranging from
Denis Diderot, the Symbolists, the Dadaists, Antonin Artaud, and
others. She also analyzes the work of playwright Robert Wilson, the
National Theatre of the Deaf, and Asian American director Ping
Chong. She shows how the model of the third ear can address not
only deaf performance, but also multicultural performance, by
analyzing the Seattle dance troupe Ragamala's 2001 production of
"Transposed Heads", which melded classical South Indian use of
mudras, or hand gestures, and ASL signing. Through an engagement
with the performance of moments of the third ear, Kochhar-Lindgren
reveals how deeply perception and the making of meaning are
interlocked. The shift in attention limned in "Hearing Difference"
leads to a different understanding of the body, intersubjectivity,
communication, and cross-cultural relations, confirming it as a
critically important contribution to contemporary Deaf studies.
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