http://orcid.org/0000-0002-1923-6481
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ABSTRACT
In this paper, I use an ecologies approach to present reflections on the history of disability and deaf theatre in Australia, in light of the distinctive local policy, industry, and production frameworks that have supported or failed to support its development in particular directions. After tracing and categorising developments in the field to date, I signal specific policy changes in the local landscape and specific impacts these policy changes could have on the way we conceive, categorise, and fund different types of disability theatre in Australia in the years to come.
Notes on contributor
Bree Hadley is Associate Director of the Creative Lab at Queensland University of Technology in Brisbane, Australia. Her research in disability, theatre, and related fields has appeared in Theatre, Social Media and Meaning Making (Palgrave Macmillan forthcoming 2017), Public Space Performance & Spectatorship: Unconscious Performers (Palgrave Macmillan 2014), and many international journals.
Disclosure statement
No potential conflict of interest was reported by the authors.
ORCID
Bree Hadley http://orcid.org/0000-0002-1923-6481