REPRESENTATION OF PEOPLE WITH DISABILITIES IN LATVIAN THEATRE ARTS
DOI:
https://doi.org/10.55877/kkmp.2024.456Keywords:
disability, performance, representation, stereotypes, theatreAbstract
Representation, especially in culture and art, is important since it reflects on how people see themselves and those around them. Therefore, it is crucial to portray people as real as possible because by doing so it is possible to create a more inclusive and understanding society. In this article author brings focus to representation of disabled people on Latvian theatre stage. The aim of this article is to analyse the events of 2022/2023 season in Latvian theatre and find out how people with disabilities are represented in them as theatre is one of the most common art forms. The empirical part of the work which uses qualitative content analysis on eight theatre plays and performances reveals that in Latvian theatre art, characters with functional disabilities are stereotyped quite intensively, but experiences that are not related to the stereotyping of disability are gained only at the festival “Homo Novus”, where artists with disabilities from other countries are performing.
Downloads
References
Izmantotie avoti
Apvienoto Nāciju organizācija (2010). Konvencija par personu ar invaliditāti tiesībām. Pieņemts: 13.12.2006. Pieejams: https://likumi.lv/ta/lv/starptautiskie-ligumi/id/1630 (skatīts 05.03.2023.)
Barnes, C. (1992). Disabling Imagery and the Media. An Exploration of the Principles for Media Representations of Disabled People. Krumlin: Ryburn Publishing, p. 29.
Centrālā Statistikas pārvalde (2021). VDEĀVK uzskaitē esošo personu ar invaliditāti skaits. Pieejams: https://data.stat.gov.lv:443/sq/15984 (skatīts 05.03.2023.)
Garland-Thompson, R. (2000). Staring Back: Self-Representations of Disabled Performance Artists. American Quarterly. Vol. 52, No. 2, pp. 334–338. Pieejams: DOI:10.1353/aq.2000.0024 (skatīts 17.04.2023.)
Hadley, B., Paterson, E., Little, M. (2022). Quick Trust and Slow Time. The International Journal of Disability and Social Justice. Vol. 2, No. 1., pp. 74–94. Pieejams: https://www.jstor.org/stable/10.2307/48676197 (skatīts 07.04.2023.)
Kataja, R. (2020). Inclusion, Don’t Forget About Us: Disabilities in Performing Arts. Online: Harvard Political Review. Pieejams: https://harvardpolitics.com/disabilities-in-performing-arts/ (skatīts 12.04.2023.)
Meņģele, Ņ., Parhomenko, I. (2018., 19. dec.) Kā jūtas invalīdi un viņu draugi Latvijā. Intervē: nav zināms. Delfi. Pieejams: https://www.apeirons.lv/ka-jutas-invalidi-un-vinu-draugi-latvija/ (skatīts 08.03.2023.)
Romanska, M. (2020). On screen and on stage, disability continues to be depicted in outdated, cliched ways. Online: Salon. Pieejams: https://www.salon.com/2020/
/27/on-screen-and-on-stage-disability-continues-to-be-depicted-in-outdated-cliched-ways_partner/ (skatīts 12.04.2023.)
Ross, M. D. (2006). Trying to Relate: Disability and the Politics of Representation in Contemporary Theatre. Dissertation. Michigan: University of Michigan, p. 260.
Ruicēns, D. (2022). LGBTQ+ kopienas atspoguļojums Latvijas skatuves mākslā (2015–2021). Bakalaura darbs. Rīga: Latvijas Kultūras akadēmija, 56. lpp.
Siebers, T. (2008). Disability Theory. Michigan: The University of Michigan Press, p. 231.
Snyder, S. L., Mitchell, D. T. (2000). Narrative Prosthesis. Disability and the Dependencies of Discourse. Michigan: The University of Michigan Press, p. 211.
Sterba, D., Stapleton, J. N., Kennedy, W. (2022). The Supercrip Athlete in Media: Model of Inspiration or Able-Bodied Hegemony? International Journal of Sport Communication, Vol. 15, Iss. 3, pp. 185–189. Pieejams: https://doi.org/10.1123/ijsc.2022-0062 (skatīts 24.04.2023.)
Raksta empīriskajā analīzē izmantotie avoti
Bersani, K. (2022). “Dzīvnieks”. Izpildījums: Kjāra Bersani. Rīga: Starptautiskais Jaunā teātra festivāls “Homo Novus”.
Brāļi Grimmi (2022). “Grimmi”. Rež. Elmārs Seņkovs. Liepāja: Liepājas teātris.
Bugavičute-Pēce, R. (2019). “Puika, kurš redzēja tumsā”. Rež. Valters Sīlis. Rīga: Latvijas Nacionālais teātris.
Bugavičute-Pēce, R. (2019). “Puika, kurš redzēja tumsā”. Rež. Valters Sīlis. Latvijas Nacionālā teātra lugas eksemplārs atrodas teātra arhīvā, 61 lpp.
Kalnozols, A. (2022). “Kalendārs mani sauc”. Rež. Mārtiņš Eihe. Valmiera: Valmieras drāmas teātris.
Kalnozols, A. (2022). “Kalendārs mani sauc”. Rež. Mārtiņš Eihe. Valmieras drāmas teātra lugas eksemplārs atrodas teātra arhīvā, 38 lpp.
Kļava, J. (2022). “Nelabie. Pēc Dostojevska”. Rež. Elmārs Seņkovs. Valmiera: Valmieras drāmas teātris.
Kļava, J. (2022). “Nelabie. Pēc Dostojevska”. Rež. Elmārs Seņkovs. Valmieras drāmas teātra lugas eksemplārs atrodas teātra arhīvā, 98 lpp.
Kondraša, D., Dauburs, R. (2022). “Neatlaidības spēles”. Rež. Roberts Dauburs. Rīga: Dirty Deal Teatro.
Kondraša, D., Dauburs, R. (2022). “Neatlaidības spēles”. Rež. Roberts Dauburs. Dirty Deal Teatro izrādes lugas eksemplārs teātra arhīvā, 29 lpp.
Peltola, S. (2022). “Mazā naudiņa”. Rež. Regnārs Vaivars. Latvijas Nacionālā teātra lugas eksemplārs atrodas teātra arhīvā, 91 lpp.
Peltola, S. (2022). “Mazā naudiņa”. Rež. Regnārs Vaivars. Rīga: Latvijas Nacionālais teātris.
PEREL (2022). “Kuram tas rūp!/?’” Izpildījums: PEREL. Rīga: Starptautiskais Jaunā teātra festivāls “Homo Novus”.
Downloads
Published
Issue
Section
License
Copyright (c) 2024 Krustpunkti: kultūras un mākslas pētījumi
This work is licensed under a Creative Commons Attribution 4.0 International License.
