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In this book, Jason B. Dorwart contends that the material presence
of visible disability disrupts the framing devices that provide
safe distancing for theatre's fictive nature. Conceptions of
disability that place the disabled body into a permanently liminal
space between life and death are directly at odds with theatrical
performances, which are geared toward moving through liminality
into a new point of stasis. Dorwart reveals how this contradiction
leads to performance practices that work to marginalize and
eliminate the presence of disabled bodies of both character and
actor, as disabled characters have historically been written with
different character arcs than nondisabled characters and with the
assumption that they would be played by nondisabled actors. As more
disabled actors gain exposure in film and theatre, the difference
in how disabled characters are written is also increasingly
affected by whether the role is intended for a disabled or
nondisabled actor. These performances are enacting new means to
performatively and figuratively reincorporate or eliminate the
liminal disabled body. The Incorporeal Corpse demonstrates how
recent plays and films try to rectify this tension between the
permanence of disability and the transitory nature of performance.
Scholars of theatre, disability studies, and performance studies
will find this book of particular interest.
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