Posts
Two months have gone by so fast. Dyssing Monadys has now finished. So much has happend, we have met so many people, worked with so many writers, poets and filmakers, actors and directors.
The concept was to create an event designed for us - dyslexic storytellers, to tell our storys, our way. A place were there was no need to apologies for our erros or our weeknesses, becouse here - at the festival, we were the main stars. Our weekenesses were not important. We were seen as storytellers and for a while, people, the audenice, forgot we were dyslexic.
The audenice were often suprised and the work was so good, people even questioned if we were really dyslexic. This just show how little the genral public know about dyslexia.
We came out of the creative closet. Me included.
A dyslexic producer, writer and director, proving that her playground is better...
I dont belive in the mantra, if you can beat them join them, I belive in, "If you cant beat them, change the rules"
Thursday 27 November 2008
Sunday 23 November 2008
Susanna, By Russian Writer, N.N. Rashkin
Monday 24th Nov 08
Play – 7.30pm
Susanna
By N.N. Rashkin
"I shall tell about myself something. I was born in 1964. I the writer, script writer, playwright. I have issued three books. All other my works in Russia are necessary to nobody. Oh yes, I live in Russia. I the man, not the woman. My name N. N."
Director
Vince Tycer recently moved to London from California, directing work includes Reefer Madness the Musical and Menotti's opera The Medium. He has an MA in Directing from the University of California at Irvine and studied acting at Drama Studio London.
Wednesday 19 November 2008
A Wonderful Surprise
I purposely made sure that I didn’t look at the script prior to the performance. By doing this it will give me a fresh approach to the play. In a strange way I’ve never felt fully connected when I see my plays acted. It’s as if someone else had written it. On Oct. 6th when the lights went down and the play started I was totally connected. The night “LD” was performed was the best theatrical event of my playwriting career.
Two amazingly talented actors and a very gifted talented director caught every nuance and every dramatic moment of my play. And that’s saying something because I’ve worked with the creative people in my other plays. They never reached height of perfection that Ms. Sorczuk and company had. Considering that I wasn’t present during the creative process made the event more exciting and a wonderful surprise.
I was a little concern about the Q & A afterwards. I never done it before. The audience members made me feel at ease. The questions were challenging and their interest in dyslexia very moving. At the end of the evening a fella told me that he wasn’t diagnosed until he was in his mid thirties and that the could identify with the characters. In every performance of this play I’ve always had people approach me with stories about themselves or loved ones effect by this disability. With these conversations I feel that I’ve done my job as an artist. I’ve opened a dialog for audience to talk freely about living with dyslexia. That was always my goal for “LD” when I wrote it.
Two amazingly talented actors and a very gifted talented director caught every nuance and every dramatic moment of my play. And that’s saying something because I’ve worked with the creative people in my other plays. They never reached height of perfection that Ms. Sorczuk and company had. Considering that I wasn’t present during the creative process made the event more exciting and a wonderful surprise.
I was a little concern about the Q & A afterwards. I never done it before. The audience members made me feel at ease. The questions were challenging and their interest in dyslexia very moving. At the end of the evening a fella told me that he wasn’t diagnosed until he was in his mid thirties and that the could identify with the characters. In every performance of this play I’ve always had people approach me with stories about themselves or loved ones effect by this disability. With these conversations I feel that I’ve done my job as an artist. I’ve opened a dialog for audience to talk freely about living with dyslexia. That was always my goal for “LD” when I wrote it.
Playwright Wendy Wasserstein
Through her plays and other writings, Pulitzer prize-winning playwright Wendy Wasserstein provided a voice for so many women paving their way on one or more of the multiple paths that the 1960’s and 70’s and modern-day feminism opened up to them. In fact, Wendy, herself, opened doors for women with her plays. Uncommon Women and Others, one of her early successful plays, featured a group of young undergrads at a prestigious women’s college striving to be “great before 30.” It gave now well-known actresses Glenn Close and Meryl Streep a chance to shine in their early years of acting. And, a little later on in her career, when women over a certain age were not getting roles, Wendy, again, wrote roles specifically for them in her 1993 critically-acclaimed play, The Sisters Rosenweig.
"She was known for being a popular, funny playwright, but she was also a woman and a writer of deep conviction and political activism," André Bishop, artistic director of Lincoln Center told Charles Isherwood of the New York Times (January 30, 2006. Link to article). "In Wendy's plays women saw themselves portrayed in a way they hadn't been onstage before — wittily, intelligently and seriously at the same time. We take that for granted now, but it was not the case 25 years ago. She was a real pioneer." Like the roles in her plays, Wendy created her own path as she went through her early years of school, her career, and her late-in-life and single motherhood. Perhaps this attitude began as a necessity, when early on dyslexia made reading, spelling—and writing—incredibly challenging.
“I won a Pulitzer Prize for playwriting, and I grew up having trouble reading,” Wasserstein commented in an interview with Dr. Sally Shaywitz (Overcoming Dyslexia). Reading continued to be a slow process for Wendy, but when she found an outlet in the arts, especially in theater, she began to flourish in school—yet she was not “cured.” Spelling continually proved difficult for her, and brought down her grades. But things did get better, and better, as she was able to concentrate on things that she could do—the arts, in particular plays and playwriting. “I figured out that they’re short, they’re also printed large, and there’s a lot of white space on the page. And you can go (as I used to do) to the Library of Performing Arts and read and listen to them at the same time. And later, reading the plays again, you can hear the voices of those people. (Overcoming Dyslexia, p. 351)
Despite her difficulties with reading, typing, and spelling, Wendy pushed on with her passion for writing, graduating from Mount Holyoke college with a BA in history, and then from CUNY’s City College with a MA in creative writing. She then earned her MFA a The Yale School of Drama, and continued on to playwriting’s pinnacle—Broadway. “Just because you are not a skilled reader doesn’t mean that you can’t be a writer,” Wendy pointed out, and demonstrated right from the beginning of her successful career. She further proved her point by authoring several non-fiction books, and a novel, Elements of Style, in addition to many successful and popular plays. Her 1988 play, the Heidi Chronicles earned her, among other awards, a Pulitzer Prize for Drama and a Tony Award for Best Play—she was the first female playwright to win one solo.
“In some ways being dyslexic is a gift, because you think less linearly. And you have to know it’s okay to think out of the box,” Wendy remarked to Dr. Shaywitz. Indeed, her ability to think outside the box, brought her audiences and her actors pioneering plays and witty, intelligent, and strong women characters tackling all aspects of life, love, and politics.
Tony Kushner, the award-winning playwright of “Angels in America,” commented on her “tremendous vitality, optimism and determination” to Hartford Courant Staff Writer Frank Rizzo (Jan 31, 2006. pg. A.1). Her faith in humanity, her genuine kindness, wit, and honesty earned her a place in the hearts of her colleagues and critics; and her prize-winning plays placed her among the greatest drama writers of all time—Tennessee Williams, Arthur Miller, Rogers & Hammerstein.
Her legacy and works continue to touch and inspire others, and beg answers to important questions, despite her shortened life and career. When she died of Lymphoma at the age of 55 in 2006, the lights on Broadway were dimmed in her honor.
*****
Read more:
Wendy Wasserstein writes about her characters and diversity in her plays for Alliance for Inclusion in the Arts.
Playbill's memorial tribute to Wendy Wasserstein by Robert Simonson.
A Wendy Wasserstein Retrospective by Morgan Allen. (Playbill)
"She was known for being a popular, funny playwright, but she was also a woman and a writer of deep conviction and political activism," André Bishop, artistic director of Lincoln Center told Charles Isherwood of the New York Times (January 30, 2006. Link to article). "In Wendy's plays women saw themselves portrayed in a way they hadn't been onstage before — wittily, intelligently and seriously at the same time. We take that for granted now, but it was not the case 25 years ago. She was a real pioneer." Like the roles in her plays, Wendy created her own path as she went through her early years of school, her career, and her late-in-life and single motherhood. Perhaps this attitude began as a necessity, when early on dyslexia made reading, spelling—and writing—incredibly challenging.
“I won a Pulitzer Prize for playwriting, and I grew up having trouble reading,” Wasserstein commented in an interview with Dr. Sally Shaywitz (Overcoming Dyslexia). Reading continued to be a slow process for Wendy, but when she found an outlet in the arts, especially in theater, she began to flourish in school—yet she was not “cured.” Spelling continually proved difficult for her, and brought down her grades. But things did get better, and better, as she was able to concentrate on things that she could do—the arts, in particular plays and playwriting. “I figured out that they’re short, they’re also printed large, and there’s a lot of white space on the page. And you can go (as I used to do) to the Library of Performing Arts and read and listen to them at the same time. And later, reading the plays again, you can hear the voices of those people. (Overcoming Dyslexia, p. 351)
Despite her difficulties with reading, typing, and spelling, Wendy pushed on with her passion for writing, graduating from Mount Holyoke college with a BA in history, and then from CUNY’s City College with a MA in creative writing. She then earned her MFA a The Yale School of Drama, and continued on to playwriting’s pinnacle—Broadway. “Just because you are not a skilled reader doesn’t mean that you can’t be a writer,” Wendy pointed out, and demonstrated right from the beginning of her successful career. She further proved her point by authoring several non-fiction books, and a novel, Elements of Style, in addition to many successful and popular plays. Her 1988 play, the Heidi Chronicles earned her, among other awards, a Pulitzer Prize for Drama and a Tony Award for Best Play—she was the first female playwright to win one solo.
“In some ways being dyslexic is a gift, because you think less linearly. And you have to know it’s okay to think out of the box,” Wendy remarked to Dr. Shaywitz. Indeed, her ability to think outside the box, brought her audiences and her actors pioneering plays and witty, intelligent, and strong women characters tackling all aspects of life, love, and politics.
Tony Kushner, the award-winning playwright of “Angels in America,” commented on her “tremendous vitality, optimism and determination” to Hartford Courant Staff Writer Frank Rizzo (Jan 31, 2006. pg. A.1). Her faith in humanity, her genuine kindness, wit, and honesty earned her a place in the hearts of her colleagues and critics; and her prize-winning plays placed her among the greatest drama writers of all time—Tennessee Williams, Arthur Miller, Rogers & Hammerstein.
Her legacy and works continue to touch and inspire others, and beg answers to important questions, despite her shortened life and career. When she died of Lymphoma at the age of 55 in 2006, the lights on Broadway were dimmed in her honor.
*****
Read more:
Wendy Wasserstein writes about her characters and diversity in her plays for Alliance for Inclusion in the Arts.
Playbill's memorial tribute to Wendy Wasserstein by Robert Simonson.
A Wendy Wasserstein Retrospective by Morgan Allen. (Playbill)
A girl who met her other side
Film 7pm
Screening on Monday 17 & 24 Nov 2008
By Lucy Fry Mixed media artist, MA Fashion design and Enterprise at the University of Westminster. During the last year, my style has been to communicate ideas around Contemporary Fashion through performance in Photography and short Art Films, using light, colour and camera technology to bring a painterly quality to my images. I've exhibited Sculpture and video installation as part of 'Lucid Intervals' hosted by the Bricklane gallery and the Rag factory gallery September 08. Also through this year I discovered I was Dyslexic this was truly a relief to know why I'm like I am. My main focus now is to just keep making art. I feel positive attracts positive energy and good things come to those who keep trying.
Screening on Monday 17 & 24 Nov 2008
By Lucy Fry Mixed media artist, MA Fashion design and Enterprise at the University of Westminster. During the last year, my style has been to communicate ideas around Contemporary Fashion through performance in Photography and short Art Films, using light, colour and camera technology to bring a painterly quality to my images. I've exhibited Sculpture and video installation as part of 'Lucid Intervals' hosted by the Bricklane gallery and the Rag factory gallery September 08. Also through this year I discovered I was Dyslexic this was truly a relief to know why I'm like I am. My main focus now is to just keep making art. I feel positive attracts positive energy and good things come to those who keep trying.
What is Dyslexia?
The below text is taken from : http://www.dyslexia.uk.com/page30.html
No single definition currently exists to adequately define dyslexia,
including our own definition. The truth is, at present nobody
really knows exactly what dyslexia is or what causes it. However,
we do know much about the dyslexic condition and as a consequence
dyslexia tends to be described in terms of its symptoms or
alternatively in terms of what it is not. For example 'Dyslexia is
not due to low intelligence' or 'Dyslexia is not a disease, it has
no cure'
In your search for information you will discover many definitions
and proposed causes of dyslexia. Writers will put forward their own
views and theories, which will generally differ from the views and
theories of others. Understandably, this is often confusing.
However, if you find yourself in this position and are wondering how
on earth you can begin to understand a condition that has no single
definition, do not despair.
Those who work with dyslexic children and adults on a day-to-day
basis quickly learn to recognise the signs of dyslexia. Although no
two dyslexics are the same, all dyslexics share enough common
symptoms to make recognising the condition possible.
Unlike others, we do not wish to attempt to impose one single
definition upon you. Instead we have listed below a few of the
common definitions currently in circulation.
Whichever definition you identify with, if you suspect that you are dyslexic
yourself or that your child may be dyslexic. Be totally honest with yourself,
because deep down inside you will known that some kind of problem exists
and that is the first step to resolving it.
Definition 1)
Our own simple definition of dyslexia is 'Intelligent, bright or
even gifted individuals, that for no obvious reason, struggle to learn through
the medium of written or spoken language'.
Definition 2)
The World Federation of Neurology defines dyslexia as
'a disorder manifested by difficulties in learning to read, despite
conventional instruction, adequate intelligence and socio-cultural
opportunity'.
Definition 3)
Dyslexia is not just a severe reading disorder
characterised by reversals. It is a syndrome of many and varied
symptoms that affects millions of children and adults.
Definition 4)
Dyslexia is the ability to see multidimensionally,
all at once, or from any one place at a time. The ability to think
in pictures and to register those pictures as real. Thus, you mix
in creative thinking with reality and change what is seen and heard.
Definition 5)
a) To read and spell requires co-ordination of many brain
functions. Problems arise at one or more functional levels.
b) Developmental dyslexia is a neurobiologically-based deficit in
acquiring reading and spelling skills, relative to the person's
general intellectual abilities.
c) Dyslexia is a discrepancy between a high score on intelligence
tests and low scores on reading/spelling tests.
Definition 6)
Dyslexia is a disability that alters the way the
brain processes written material. Affects vary from person to
person. However, all dyslexics read at levels significantly lower
than is typical for their age or intelligence.
Definition 7)
Dyslexia is a learning difficulty characterised by
problems with written or spoken language such as reading, writing,
spelling, speaking, or listening. The word dyslexia describes a
different kind of mind, often gifted, over-productive, and that
learns in a different way.
Definition 8)
Dyslexia is a congenital disturbance of brain
function causing a variety of learning difficulties, especially
relating to reading, writing and spelling.
http://www.bdadyslexia.org.uk
http://www.dyslexia.org.uk
http://www.dyslexia.uk.com
No single definition currently exists to adequately define dyslexia,
including our own definition. The truth is, at present nobody
really knows exactly what dyslexia is or what causes it. However,
we do know much about the dyslexic condition and as a consequence
dyslexia tends to be described in terms of its symptoms or
alternatively in terms of what it is not. For example 'Dyslexia is
not due to low intelligence' or 'Dyslexia is not a disease, it has
no cure'
In your search for information you will discover many definitions
and proposed causes of dyslexia. Writers will put forward their own
views and theories, which will generally differ from the views and
theories of others. Understandably, this is often confusing.
However, if you find yourself in this position and are wondering how
on earth you can begin to understand a condition that has no single
definition, do not despair.
Those who work with dyslexic children and adults on a day-to-day
basis quickly learn to recognise the signs of dyslexia. Although no
two dyslexics are the same, all dyslexics share enough common
symptoms to make recognising the condition possible.
Unlike others, we do not wish to attempt to impose one single
definition upon you. Instead we have listed below a few of the
common definitions currently in circulation.
Whichever definition you identify with, if you suspect that you are dyslexic
yourself or that your child may be dyslexic. Be totally honest with yourself,
because deep down inside you will known that some kind of problem exists
and that is the first step to resolving it.
Definition 1)
Our own simple definition of dyslexia is 'Intelligent, bright or
even gifted individuals, that for no obvious reason, struggle to learn through
the medium of written or spoken language'.
Definition 2)
The World Federation of Neurology defines dyslexia as
'a disorder manifested by difficulties in learning to read, despite
conventional instruction, adequate intelligence and socio-cultural
opportunity'.
Definition 3)
Dyslexia is not just a severe reading disorder
characterised by reversals. It is a syndrome of many and varied
symptoms that affects millions of children and adults.
Definition 4)
Dyslexia is the ability to see multidimensionally,
all at once, or from any one place at a time. The ability to think
in pictures and to register those pictures as real. Thus, you mix
in creative thinking with reality and change what is seen and heard.
Definition 5)
a) To read and spell requires co-ordination of many brain
functions. Problems arise at one or more functional levels.
b) Developmental dyslexia is a neurobiologically-based deficit in
acquiring reading and spelling skills, relative to the person's
general intellectual abilities.
c) Dyslexia is a discrepancy between a high score on intelligence
tests and low scores on reading/spelling tests.
Definition 6)
Dyslexia is a disability that alters the way the
brain processes written material. Affects vary from person to
person. However, all dyslexics read at levels significantly lower
than is typical for their age or intelligence.
Definition 7)
Dyslexia is a learning difficulty characterised by
problems with written or spoken language such as reading, writing,
spelling, speaking, or listening. The word dyslexia describes a
different kind of mind, often gifted, over-productive, and that
learns in a different way.
Definition 8)
Dyslexia is a congenital disturbance of brain
function causing a variety of learning difficulties, especially
relating to reading, writing and spelling.
http://www.bdadyslexia.org.uk
http://www.dyslexia.org.uk
http://www.dyslexia.uk.com
Dyslexia has a language barrier
Readers of Chinese use different parts of the brain from readers of English, write Brian Butterworth and Joey Tangguardian.co.uk, Thursday September 23 2004 01.13 BST Article historyAlan's parents are English, but he was born and grew up in Japan. He would pass as a native speaker of either language. What brought Alan to the notice of Taeko Wydell, an expert on Japanese reading, and Brian Butterworth, was that he was severely dyslexic, but only in one language. In the other, he was probably in the top 10% of readers of his age.
New research by US and Chinese scientists challenges our interpretation of how it is possible to be dyslexic in one language but not another. It shows that readers of Chinese use a different part of their brains to readers of English.
The study, led by Li Hai Tan and reported in Nature, may unexpectedly tell us some key things about how dyslexia affects the brain. Brain functioning, and indeed structure, is moulded by experience. Learning a regular spelling system such as Italian creates differences in brain organisation compared to learning highly irregular English. Italian has 26 rules to learn, which takes about six months; English takes longer because there are many irregularities (and several hundred rules). In Chinese 3,500 characters are needed to read the equivalent of the Daily Mail and about 6,000 characters to read books.
The second main difference is that in English each linguistically distinct sound, or phoneme, maps to a single letter. For example, the three phonemes in "bat" map on to three letters. If one letter is changed it makes a new word. A Chinese character maps to a whole syllable. In Putonghua, the national language of China, there are about 1,800 distinguishable syllables; each syllable can have several meanings and each meaning is typically represented by a distinct character.
How will these differences be reflected in brain organisation? Learning Chinese creates specific demands on the areas for remembering visual patterns. English readers make more use of areas for phoneme processing.
This ability to analyse syllables into phonemes is the key problem in dyslexia. Dyslexics have difficulty segmenting the word "that" into three separate sounds - so fare much worse in learning English than Chinese.
Reported prevalence of dyslexia is much higher in English (about 5-6%) than Chinese. I surveyed 8,000 schoolchildren in the Beijing region, with Yin Wengang of the Chinese Academy of Science, and found that about 1.5% were dyslexic.
This kind of evidence suggests that a single underlying deficit of the ability to analyse words into phonemes can cause dyslexia for any reader, but will be more severe where phonemes are involved. A European team led by Uta Frith of UCL reported in Science a few years ago that English, French and Italian dyslexics all showed the same abnormal activity involving the brain system underlying phonemic analysis.
In Alan, this theory predicts accurately that the affected language will be English, since Japanese does not require analysis into phonemes.
Research by Frith's team shows that small variations in brain organisation are due to orthography, with Italian making more demands on the phonemic system, because it is regular, and English making more demands on the naming system because words cannot be read correctly using phonic rules and have to be named - for example: colonel, yacht, pint. We assume the part of Alan's brain that deals with phonemic analysis is not working efficiently, which causes a problem reading English, compared to Japanese.
The first surprise in Tan's study was that a key peak in brain activity in Chinese readers fell outside the network typically used by European readers. The second surprise was that dyslexics showed lower activation in several key reading areas compared with normal Chinese readers, but this was in a very different brain area from Frith's European dyslexics.
Both Frith and I have argued that dyslexia has a universal basis in the brain that affects phonemic analysis. Tan and his colleagues, by contrast, conclude that "the biological abnormality of impaired reading is dependent on culture". If we are right, Alan uses the same brain network for English and Japanese, and the malfunction only affects English reading. If Tan is right, Alan has separate networks for English and Japanese, and only the former is affected.
A lot will turn on which of us is right. Dyslexia frequently runs in families, and there has been much research trying to identify the genes responsible. If dyslexia is governed by culture, then Chinese dyslexia may be caused by a different genetic anomaly than English dyslexia.
· Brian Butterworth and Joey Tang are in the Institute of Cognitive Neuroscience at University College London
New research by US and Chinese scientists challenges our interpretation of how it is possible to be dyslexic in one language but not another. It shows that readers of Chinese use a different part of their brains to readers of English.
The study, led by Li Hai Tan and reported in Nature, may unexpectedly tell us some key things about how dyslexia affects the brain. Brain functioning, and indeed structure, is moulded by experience. Learning a regular spelling system such as Italian creates differences in brain organisation compared to learning highly irregular English. Italian has 26 rules to learn, which takes about six months; English takes longer because there are many irregularities (and several hundred rules). In Chinese 3,500 characters are needed to read the equivalent of the Daily Mail and about 6,000 characters to read books.
The second main difference is that in English each linguistically distinct sound, or phoneme, maps to a single letter. For example, the three phonemes in "bat" map on to three letters. If one letter is changed it makes a new word. A Chinese character maps to a whole syllable. In Putonghua, the national language of China, there are about 1,800 distinguishable syllables; each syllable can have several meanings and each meaning is typically represented by a distinct character.
How will these differences be reflected in brain organisation? Learning Chinese creates specific demands on the areas for remembering visual patterns. English readers make more use of areas for phoneme processing.
This ability to analyse syllables into phonemes is the key problem in dyslexia. Dyslexics have difficulty segmenting the word "that" into three separate sounds - so fare much worse in learning English than Chinese.
Reported prevalence of dyslexia is much higher in English (about 5-6%) than Chinese. I surveyed 8,000 schoolchildren in the Beijing region, with Yin Wengang of the Chinese Academy of Science, and found that about 1.5% were dyslexic.
This kind of evidence suggests that a single underlying deficit of the ability to analyse words into phonemes can cause dyslexia for any reader, but will be more severe where phonemes are involved. A European team led by Uta Frith of UCL reported in Science a few years ago that English, French and Italian dyslexics all showed the same abnormal activity involving the brain system underlying phonemic analysis.
In Alan, this theory predicts accurately that the affected language will be English, since Japanese does not require analysis into phonemes.
Research by Frith's team shows that small variations in brain organisation are due to orthography, with Italian making more demands on the phonemic system, because it is regular, and English making more demands on the naming system because words cannot be read correctly using phonic rules and have to be named - for example: colonel, yacht, pint. We assume the part of Alan's brain that deals with phonemic analysis is not working efficiently, which causes a problem reading English, compared to Japanese.
The first surprise in Tan's study was that a key peak in brain activity in Chinese readers fell outside the network typically used by European readers. The second surprise was that dyslexics showed lower activation in several key reading areas compared with normal Chinese readers, but this was in a very different brain area from Frith's European dyslexics.
Both Frith and I have argued that dyslexia has a universal basis in the brain that affects phonemic analysis. Tan and his colleagues, by contrast, conclude that "the biological abnormality of impaired reading is dependent on culture". If we are right, Alan uses the same brain network for English and Japanese, and the malfunction only affects English reading. If Tan is right, Alan has separate networks for English and Japanese, and only the former is affected.
A lot will turn on which of us is right. Dyslexia frequently runs in families, and there has been much research trying to identify the genes responsible. If dyslexia is governed by culture, then Chinese dyslexia may be caused by a different genetic anomaly than English dyslexia.
· Brian Butterworth and Joey Tang are in the Institute of Cognitive Neuroscience at University College London
Sunday 9 November 2008
Monday 10th November 2008
Film - 7pm
Rahidian Gutterfish
By Benjamin Otos
London’s 8th International Disability Film Festival runs next weekend at the BFI Southbank in London. The events begin on Thursday, February 14th with a screening of the opening night film, Special People, and runs throughout the weekend with a variety of programs that include screenings of older and recent films from around the world, short film collections, conversations with filmmakers and panel discussions. Each film or event will be soft-titled, audio-described, BSL interpreted and/or Palantype transcribed as appropriate. The event is organized by the London Disability Arts Foundation (LADF), a disability-led organization focused on promoting Disability Arts and the work of disabled artists. The LADF was founded in 1986 and registered as a charity in 1992 with core funding from Arts Council England. For more information about the LDAF, and a detailed list of the events, please go to http://www.ldaf.org/index.htm, http://disabilityfilm.org.uk/ http://uk.youtube.com/watch?v=b8agdmkpCf4, http://withtv.typepad.com
Rahidian Gutterfish
By Benjamin Otos
London’s 8th International Disability Film Festival runs next weekend at the BFI Southbank in London. The events begin on Thursday, February 14th with a screening of the opening night film, Special People, and runs throughout the weekend with a variety of programs that include screenings of older and recent films from around the world, short film collections, conversations with filmmakers and panel discussions. Each film or event will be soft-titled, audio-described, BSL interpreted and/or Palantype transcribed as appropriate. The event is organized by the London Disability Arts Foundation (LADF), a disability-led organization focused on promoting Disability Arts and the work of disabled artists. The LADF was founded in 1986 and registered as a charity in 1992 with core funding from Arts Council England. For more information about the LDAF, and a detailed list of the events, please go to http://www.ldaf.org/index.htm, http://disabilityfilm.org.uk/ http://uk.youtube.com/watch?v=b8agdmkpCf4, http://withtv.typepad.com
Monday 3 November 2008
MONDAY 3rd NOV 2008 BEHIND THE WIRE
Behind the Wire’ set in 1970’s Belfast, examines the conflicts in Northern Ireland during its most tumultuous time in history. The play examines what happened to the families, those left behind and the lives lost to the Maze Prison. Rebecca Gooden trained at The Central School of Speech and Drama as a playwright and graduated 08. Behind the Wire is the first play she has written.
Director Chris Lynch graduated from Central School of Speech and Drama where he majored in writing and directing. He has assisted Richard Foreman in the creation of ' Deep trance behaviour in Potatoland’ (Jan 08). His writing debut in the Buxton Fringe 2006, receiving a best young company nomination for his show '10 ways to fake your own death'. The second son of a former Collary Worker Chris was diagnosed with dyslexia aged 10 and has used it as motivation ever since, taking inspiration from his hero Jackie Steward. Chris is currently writing 'for when the wind blows' as well as several minor plays.
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DYS(the)LEXI
Celebrating Dyslexics