Jason Dorwart is an Assistant Professor at Hong Kong Baptist University where he teaches Global Theatre and Disability Studies. He is also an actor and director who has worked with Phamaly Theatre Co., made up entirely of performers with disabilities.
Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices · Voices ·,” I was nervous.
For obvious reasons, I related most to Anya, who defies the predictable tropes that often hold back disabled characters from full-fledged characterization. In many productions, the camera views wheelchair users the same way able-bodied audience members often do — that is, with shock and a bit of awkward distance. It’s common for the camera to pan up the wheelchair dramatically as part of a “grand reveal.
As played by Codd, Anya is at once acerbic and sensitive, angry and empathetic. In other words, she is fully human, which not many disabled characters are permitted to be. She embodies neither what disability theorists,” both of whom seek revenge for their disabilities ― nor the “charity case,” who appeals pitiably to the benevolence of well-meaning able-bodied people. Instead, she’s just herself, deeply flawed and highly relatable.often signify bad omens or harbingers of imminent death.
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