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O&M jobs in Virginia
开云体育There are two O&M positions open in VA—Fairfax in Northern Virginia and Staunton in the mountains in western Virginia.? Both are great areas with a lot to offer! ?
? ? ? Melanie Hughes, M.S., COMS Orientation and Mobility Specialist, Fairfax office Department for the Blind and Vision Impaired 11150 Fairfax Blvd. St. 502?Fairfax, VA 22030 Mobile:? 571-422-3579 FAX: 703 359 1111 |?|? ?
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Re: O&M and theatre stages
开云体育Jack, great suggestions. I just want to question one of your thoughts. I assume that you are suggesting a black Ambutech cane because it would not be as obvious on stage. I would suggest that if the actor is playing the character as a blind or low vision person, then a white cane should be used. The black cane would attempt to downplay something that is simply a feature of both the character and the actor. The O&M part of me does not want to see colored canes promoted as generally acceptable for the travel of blind and visually impaired people because of the public’s knowledge of the white cane being an indicator of blindness, and because of the legal protections associated with the use of a WHITE cane. Recognition of a white cane indicating blindness is understood by roughly 70% of drivers according to a study published several years ago.? I think Gene Berquin was one of the authors. ?We need to keep working on raising this percentage rather than creating confusion which could lower understanding. I have been one of several COMS who has challenged Ambutech for even manufacturing fashion colored canes. I think that some of our efforts have resulted in Ambutech now providing materials with colored canes warning that they may not be covered under some of the white cane laws. I have relaxed my position a little bit at the urging of some clients and blind consumers who tell me that they only use the colored canes when they are not traveling alone or not going to be interacting with traffic. Certainly, people should have the right to make fashion statements by coordinating cane color with colors of outfits, but they should do so with full knowledge of the legal protections they may be forfeiting, and in my view, people who are blind representing that variety of people on stage should not use the colored canes. ? If the actor is not playing the character as a person who is blind or visually impaired, then the use of other O&M accommodations should probably be used instead of the cane. A black cane will only raise questions, and will be nonetheless sufficiently obvious that the audience will notice it. ? I saw a production of “School House Rock” starring one of my students in the role of Bill. This character has only one major scene in the show, but he is definitely the star of that scene. ?I did not consult with the director or choreographer, but did chat directly with my student, who was a high school Junior, about movement on stage. I was quite impressed with the accommodations employed. The student was rolled onto the stage by other cast members standing on a raised platform. I think the rise was about one foot, and the measurements were probably about 15 by 20 feet. My student has excellent special concepts and perceptions, and although he has little more than light perception, he was able to restrict his dance moves to that platform and not fall off of it, which would have only been a drop of a foot or less, It was not a problem for him to avoid this, and it created no opportunity for him to fall off of the front of the stage into the orchestra pit. The character was not played as a blind person and he did not have his white cane on the platform, but when he came on stage for the curtain call and moved to the front of the stage to take a bow at the end of the performance, he did have his white cane with him and used it to identify the front of the stage. ? Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? ? From: [email protected] <[email protected]> On Behalf Of Jack Mitchell
Sent: Thursday, August 3, 2023 6:34 AM To: [email protected] Subject: Re: [OandM] O&M and theatre stages ? A few years back, I saw an acquaintance of mine who has very low vision in a production of pippin as a member of the chorus.? They used multiple ways to help him get around.? ?In some cases, he would enter or exit with another cast member using a modified human guide,? sometimes he would come in on his own, knowing how far he needed to go to get to his mark, at least a couple of times he actually had a cane with him.?? ? Since your student has light perception, they could possibly orient based on where the stage lights are, to better maintain a line of travel.? They could also use the position of walls or curtains to establish a direction.? Combined with being able to make accurate turns and maintain a line of travel that could make it much more possible for them to move independently.?? ? As an O&M, and possibly in conjunction with the choerographer, it seems like some of the most useful skills that you could work on with your student would be maintaining a line of travel, making accurate turns, walking with a smooth regular gait, and making good use of time and distance.? If your student is not comfortable traveling independently without a cane, an extra long prop cane might be able to be used, or possibly a black ambutech cane would provide some forward? protection for them.?? ? Jack Mitchell From: [email protected] <[email protected]> on behalf of Anne Evrard (MCQ) via groups.io <anne_evrard@...> ? Hi Michael, Thanks for your additional comment ; you are right,? my student who sings very well (and compose? songs) will probably be involved in musical comedies and he will need to move. More I am reading your inputs, more I am deciding that as soon as I can, I will meet his theater teachers to have a exchange of ideas. ? Also, I got this morning from a friend of mine who is a COMS, this video of a wonderful student which is very inspiring !
? ? Anne ? ?-??????????????? COMS, Spécialiste en Orientation et Mobilité?? ??? ? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504? fax: 1 (819) 374 4967 E-Mail:?anne_evrard@... ?Veuillez prendre note que je suis en congé un lundi sur deux. De : [email protected] <[email protected]> de la part de Michael Byington via groups.io <ByingtonCOMS@...> ?
? Anne, this is just a short reply to suggest that your client, who is obviously interested in the theatre, not limit himself from auditioning for musicals where there may be choreography involved, especially if he has a good voice and wants to sing. I am a legally blind person with a strong and fairly serviceable singing voice. I also experience some of the deficits in coordination often associated with congenital legal blindness. I am a choreographer’s worst nightmare. Back when I was acting, however, I have nonetheless been in several musicals where I have been required to participate in dance numbers.? I was never cast as a daring young male lead, an athlete, or in other character roles that called on me to be debonair and macho. In the roles I have played and sung, I was able to incorporate my lack of coordination into a part of the character. A good and creative choreographer can work with this, so that a dancer such as myself appears to simply be dancing in accordance with the capabilities of the character. There are a lot of choreographers out there who are not that flexible or creative, and your client will miss out on parts simply because the choreographer is not willing to work with the adaptive movement of the performer, but the field is beginning to come around concerning some of these issues. I welcome your client to the campaign Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? ? From: [email protected] <[email protected]> On Behalf Of Anne Evrard (MCQ) via groups.io ? Hi Doug, I really hope that? I will meet a choreographer/ theater director, but it's not yet in the agenda.? Also, my student is not good at all in dancing (poor coordination). So, I am sure he will avoid that kind of performance.. but maybe he won't have any choice!! ? Thanks for your advice! ? Anne? ? ?-??????????????? COMS, Spécialiste en Orientation et Mobilité?? ??? ? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504? fax: 1 (819) 374 4967 E-Mail:?anne_evrard@... ? ?Veuillez prendre note que je suis en congé un lundi sur deux. De : [email protected] <[email protected]> de la part de douglas gilbert via groups.io <dgilbert605@...> ?
? Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ process ? Doug Gilbert? ?
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504 fax: 1 (819) 374 4967 E-Mail:?anne_evrard@...
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504 fax: 1 (819) 374 4967 E-Mail:?anne_evrard@... |
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Re: O&M and theatre stages
开云体育
A few years back, I saw an acquaintance of mine who has very low vision in a production of pippin as a member of the chorus.? They used multiple ways to help him get around.? ?In some cases, he would enter or exit with another cast member using a modified human
guide,? sometimes he would come in on his own, knowing how far he needed to go to get to his mark, at least a couple of times he actually had a cane with him.??
Since your student has light perception, they could possibly orient based on where the stage lights are, to better maintain a line of travel.? They could also use the position of walls or curtains to establish a direction.? Combined with being able to make
accurate turns and maintain a line of travel that could make it much more possible for them to move independently.??
As an O&M, and possibly in conjunction with the choerographer, it seems like some of the most useful skills that you could work on with your student would be maintaining a line of travel, making accurate turns, walking with a smooth regular gait, and making
good use of time and distance.? If your student is not comfortable traveling independently without a cane, an extra long prop cane might be able to be used, or possibly a black ambutech cane would provide some forward? protection for them.??
Jack Mitchell
From: [email protected] <[email protected]> on behalf of Anne Evrard (MCQ) via groups.io <anne_evrard@...>
Sent: Tuesday, August 1, 2023 3:00 PM To: [email protected] <[email protected]> Subject: Re: [OandM] O&M and theatre stages ?
Hi Michael,
Thanks for your additional comment ; you are right,? my student who sings very well (and compose? songs) will probably be involved in musical comedies and he will need to move.
More I am reading your inputs, more I am deciding that as soon as I can, I will meet his theater teachers to have a exchange of ideas.
Also, I got this morning from a friend of mine who is a COMS, this video of a wonderful student which is very inspiring !
Anne
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
De : [email protected] <[email protected]> de la part de Michael Byington via groups.io <ByingtonCOMS@...>
Envoyé : mardi 1 ao?t 2023 12:58 ? : [email protected] <[email protected]> Objet : Re: [OandM] O&M and theatre stages ?
? Anne, this is just a short reply to suggest that your client, who is obviously interested in the theatre, not limit himself from auditioning for musicals where there may be choreography involved, especially if he has a good voice and wants to sing. I am a legally blind person with a strong and fairly serviceable singing voice. I also experience some of the deficits in coordination often associated with congenital legal blindness. I am a choreographer’s worst nightmare. Back when I was acting, however, I have nonetheless been in several musicals where I have been required to participate in dance numbers.? I was never cast as a daring young male lead, an athlete, or in other character roles that called on me to be debonair and macho. In the roles I have played and sung, I was able to incorporate my lack of coordination into a part of the character. A good and creative choreographer can work with this, so that a dancer such as myself appears to simply be dancing in accordance with the capabilities of the character. There are a lot of choreographers out there who are not that flexible or creative, and your client will miss out on parts simply because the choreographer is not willing to work with the adaptive movement of the performer, but the field is beginning to come around concerning some of these issues. I welcome your client to the campaign Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? ?
From: [email protected] <[email protected]> On Behalf Of Anne Evrard (MCQ) via groups.io ? Hi Doug, I really hope that? I will meet a choreographer/ theater director, but it's not yet in the agenda.? Also, my student is not good at all in dancing (poor coordination). So, I am sure he will avoid that kind of performance.. but maybe he won't have any choice!! ? Thanks for your advice! ? Anne? ? ?-??????????????? COMS, Spécialiste en Orientation et Mobilité??
??? ? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504? fax: 1 (819) 374 4967 E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis
en congé un lundi sur deux.
De : [email protected] <[email protected]>
de la part de douglas gilbert via groups.io <dgilbert605@...> ?
? Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ process ? Doug Gilbert?
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504 fax: 1 (819) 374 4967 E-Mail:?anne_evrard@...
-- Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité
? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
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Re: O&M and theatre stages
Anne Evrard (MCQ)
开云体育
Hi Michael,
Thanks for your additional comment ; you are right,? my student who sings very well (and compose? songs) will probably be involved in musical comedies and he will need to move.
More I am reading your inputs, more I am deciding that as soon as I can, I will meet his theater teachers to have a exchange of ideas.
Also, I got this morning from a friend of mine who is a COMS, this video of a wonderful student which is very inspiring !
Anne
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
De : [email protected] <[email protected]> de la part de Michael Byington via groups.io <ByingtonCOMS@...>
Envoyé : mardi 1 ao?t 2023 12:58 ? : [email protected] <[email protected]> Objet : Re: [OandM] O&M and theatre stages ?
? Anne, this is just a short reply to suggest that your client, who is obviously interested in the theatre, not limit himself from auditioning for musicals where there may be choreography involved, especially if he has a good voice and wants to sing. I am a legally blind person with a strong and fairly serviceable singing voice. I also experience some of the deficits in coordination often associated with congenital legal blindness. I am a choreographer’s worst nightmare. Back when I was acting, however, I have nonetheless been in several musicals where I have been required to participate in dance numbers.? I was never cast as a daring young male lead, an athlete, or in other character roles that called on me to be debonair and macho. In the roles I have played and sung, I was able to incorporate my lack of coordination into a part of the character. A good and creative choreographer can work with this, so that a dancer such as myself appears to simply be dancing in accordance with the capabilities of the character. There are a lot of choreographers out there who are not that flexible or creative, and your client will miss out on parts simply because the choreographer is not willing to work with the adaptive movement of the performer, but the field is beginning to come around concerning some of these issues. I welcome your client to the campaign Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? ? From: [email protected] <[email protected]> On Behalf Of Anne Evrard (MCQ) via groups.io
Sent: Monday, July 31, 2023 3:47 PM To: [email protected] Subject: Re: [OandM] O&M and theatre stages ? Hi Doug, I really hope that? I will meet a choreographer/ theater director, but it's not yet in the agenda.? Also, my student is not good at all in dancing (poor coordination). So, I am sure he will avoid that kind of performance.. but maybe he won't have any choice!! ? Thanks for your advice! ? Anne? ? ?-??????????????? COMS, Spécialiste en Orientation et Mobilité??
??? ? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504? fax: 1 (819) 374 4967 E-Mail:?anne_evrard@...
?Veuillez prendre
note que je suis en congé
un lundi sur deux.
De :
[email protected] <[email protected]> de la part de douglas gilbert via
groups.io <dgilbert605@...> ?
? Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ process ? Doug Gilbert?
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité
? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504 fax: 1 (819) 374 4967 E-Mail:?anne_evrard@...
-- Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@... |
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|
Re: O&M and theatre stages
开云体育Anne, this is just a short reply to suggest that your client, who is obviously interested in the theatre, not limit himself from auditioning for musicals where there may be choreography involved, especially if he has a good voice and wants to sing. I am a legally blind person with a strong and fairly serviceable singing voice. I also experience some of the deficits in coordination often associated with congenital legal blindness. I am a choreographer’s worst nightmare. Back when I was acting, however, I have nonetheless been in several musicals where I have been required to participate in dance numbers.? I was never cast as a daring young male lead, an athlete, or in other character roles that called on me to be debonair and macho. In the roles I have played and sung, I was able to incorporate my lack of coordination into a part of the character. A good and creative choreographer can work with this, so that a dancer such as myself appears to simply be dancing in accordance with the capabilities of the character. There are a lot of choreographers out there who are not that flexible or creative, and your client will miss out on parts simply because the choreographer is not willing to work with the adaptive movement of the performer, but the field is beginning to come around concerning some of these issues. I welcome your client to the campaign Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? ? From: [email protected] <[email protected]> On Behalf Of Anne Evrard (MCQ) via groups.io
Sent: Monday, July 31, 2023 3:47 PM To: [email protected] Subject: Re: [OandM] O&M and theatre stages ? Hi Doug, I really hope that? I will meet a choreographer/ theater director, but it's not yet in the agenda.? Also, my student is not good at all in dancing (poor coordination). So, I am sure he will avoid that kind of performance.. but maybe he won't have any choice!! ? Thanks for your advice! ? Anne? ? ?-??????????????? COMS, Spécialiste en Orientation et Mobilité?? ??? ? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504? fax: 1 (819) 374 4967 E-Mail:?anne_evrard@... ?Veuillez prendre note que je suis en congé un lundi sur deux. De : [email protected] <[email protected]> de la part de douglas gilbert via groups.io <dgilbert605@...> ?
? Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ process ? Doug Gilbert?
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon 375, rue Vachon Trois-Rivières (Québec) G8T 8P6 Tél: 1 (819)??378 4083? ext.1504 fax: 1 (819) 374 4967 E-Mail:?anne_evrard@... |
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Re: O&M and theatre stages
Anne Evrard (MCQ)
开云体育
Thnaks so much Michael for your very interesting message!
Anne
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
De : [email protected] <[email protected]> de la part de Michael Byington via groups.io <ByingtonCOMS@...>
Envoyé : lundi 31 juillet 2023 15:56 ? : [email protected] <[email protected]> Objet : Re: [OandM] O&M and theatre stages ?
? Hi folks, ? This general? area of O&M practice has been a long time interest of mine. Many years ago, I worked for a short time as a professional actor, and was in many college and community productions. ?Before going back to Graduate school when in my 50s, to get the training to take the COMS examination, I was from 1989 through the early 2000s, a Registered Drama Therapist through the North American Drama Therapy Association (NADTA). Once I got into COMS training, I did not have the time to continue to get the necessary CEUs to keep up my Registered Drama Therapist credential, so in commenting on subjects related to any aspect of drama and disability, I ethically must disclose that I am no longer a Registered Drama Therapist (RDT), but am commenting as a COMS. In my youth, however, I did my first Masters in Speech/Theatre with A Drama Therapy emphasis, largely because of my interests in insuring that people with disabilities, and particularly, people who are blind or visually impaired, have opportunities to participate in all aspects of professional and amateur theatre. As a legally blind person, this of course includes myself.? ? One of the first comments I want to make is that I am so pleased to read Anne Evrard ‘s post and to see that her student is wanting to be involved in multiple aspects of university theatre. Obviously, it is my feeling that we need to continue to push the envelope on behalf of blind and visually impaired thespians to be able to enjoy full inclusion in all aspects of the theatre arts. ? I will comment concerning the specific O&M questions she has asked, I then will share a few thoughts about other access and inclusion issues that the student may experience ? When we consider stage markings and orientation? cues for blind performers or stage staff, it is important the remember that no two stages will have exactly the same features. When most theatre goers think of a stage they think of a proscenium configuration or proscenium with an apron and/or orchestra pit. These stages are of course raised, and in the case of an orchestra pit, the drop off can be as far down as almost an entire story.? This front drop off is of course a major potential hazard, and is the feature which a blind person on stage has to keep in their orientation. The tactile warnings of the stage edge must thus be quite pronounced. One solution is to put a lip? all along the front of the stage, or ideally a graduated warning.. It is true, that on many stages, sighted actors use illuminated tape markings to find their positions on stage when entering a dark stage after a scene change. This is not always done, however, and certainly is not the only solution that is employed for sighted actors. If the theatre has a balcony, for example, much of the stage floor may be seen by the balcony audience. Thus quite often surface changes, or other detectable features are incorporated into the set design. Thus for making entrances on a darkened stage after a scene change, the sighted actors may indeed be using some of the same orientation cues that work for people who are blind. The important thing to keep in mind is that the edge of the stage is the greatest hazard to be identified. The lip or detectable markings for this drop-off must be very clear. They often can be made a part of the set design, but that must be something that the performer can notice in order to avoid the edge without great concentration. An actor is portraying a character on stage, They must be free to concentrate on their performance without consciously having to always keep track of the location of the edge of the stage.? One factor that can be helpful with some proscenium stages is the fact that there are often banks of footlights in use all along the front of the stage. One does not want to fall over these and then off of the front of the stage either, so the key there is to not only avoid the edge of the stage, but also the footlight banks. The heat of the footlights is often a good cue for these, but if the footlights are not used for all scenes, then whatever type of detectable warning surface changes are used may need to not be at the very edge of the stage, but rather just on the upstage side of the footlights. ? Many university stages may not be raised at all. Theatre in the round or arena staging may mean that the stage is at the lowest level, with audience being on graduated risers on two, three, or even all four sides of the stage. In these environments, the edge of the stage may not be a factor at all. Orientation needs to be on an object to object basis. Again, illuminated or reflective tape may still be used for some markings for sighted actors, but not to as much of an extent, because the stage floor is visible to much of the audience.? ? I found Dona’s comments about the actor she served with O&M training to be very interesting. This was obviously a person who was at one time sighted and then had to adapt his craft to having acquired blindness. At first, it was his desire, or at least he was given the task, of portraying the character he was playing as being sighted. This is of course an extra burden for an actor, and often one that a person who has had normal vision and then lost it can adjust to doing somewhat easily. It is much tougher for a person who is congenitally blind or visually impaired, not impossible, but can indeed be very difficult, because the person is being asked to learn some sequences of movement which may have never been a part of their navigation. They must make these very basic adjustments? while doing all of the work that any sighted actor must do in assuming a character. From Dona’s comments, I gather that the person she was working with, and with whose work I am not personally familiar, then became more comfortable with incorporating their blindness into characters being portrayed/ The part does not after all, have to be written specifically for a blind person, in order for the character to just happen to be blind.? This concept is one of the most difficult hurtles for blind, and other actors with obvious disabilities? to inject into the overall morass of theatre. We as a society have only recently gotten to a point where we can accept the race of a character to not have to have significance to the plot. People with blindness and other disabilities, after all, go into a virtually unlimited continuum of vocations, avocations, and lifestyles. Theatre is after all, the imitation of life, and thus I want to encourage any blind or visually impaired person looking at entering the theatre to promote this concept by auditioning for, and expecting serious consideration, for almost any role, whether that role is written for a blind person or not, and to realize that it should not be required to play the role as a sighted person just because it was not originally written for someone who is blind.? ? I have added the above paragraph to this post even though it comments on aspects of theatre not originally asked about.? I have done so because I believe that these are considerations that any person who is blind or significantly visually impaired should? consider. Feel free to share with students who might find the comments relevant. ? Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? From: [email protected] <[email protected]> On Behalf Of
Dona Sauerburger
Sent: Monday, July 31, 2023 11:50 AM To: [email protected] Subject: Re: [OandM] O&M and theatre stages ? William, great point! ?S. Robert Morgan told me he did fall off the back of the stage once — Dona ————————— Dona Sauerburger, COMS
-- Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@... |
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Re: O&M and theatre stages
Anne Evrard (MCQ)
开云体育
Hi Doug,
I really hope that? I will meet a choreographer/ theater director, but it's not yet in the agenda.?
Also, my student is not good at all in dancing (poor coordination). So, I am sure he will avoid that kind of performance.. but maybe he won't have any choice!!
Thanks for your advice!
Anne?
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
De : [email protected] <[email protected]> de la part de douglas gilbert via groups.io <dgilbert605@...>
Envoyé : lundi 31 juillet 2023 16:21 ? : [email protected] <[email protected]> Objet : Re: [OandM] O&M and theatre stages ?
? Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ process
Doug Gilbert? On Jul 31, 2023, at 10:30 AM, Anne Evrard (MCQ) via groups.io <anne_evrard@...> wrote:
--
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@... |
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Re: O&M and theatre stages
开云体育Well said, Michael (about playing roles as a blind or sighted person). ?I remember being thrilled when he answered my question about whether his next character was blind or sighted and he said he’d play it as a blind person. ?The character was a minister and I was thinking, if I was playing the part, the minister would be a sighted, white woman my age who looks like me. When he played the part, the minister was a tall handsome black man who was blind. ?And later, when he got the part to play the role of Butchie in The Wire, Butchie was a tall, handsome black man who is blind. ? I am seeing more and more of that in shows - some of the characters are in wheelchairs, or they are midgets, or trans, some are black and some white or native American or Asian or Hispanic, etc. ?It seems that no longer are all parts written for people with specific characteristics, but the actors who fill those rules have those characteristics. Aren’t we lucky to live in these times? — Dona ————————— Dona Sauerburger, COMS www.sauerburger.org/Dona On Jul 31, 2023, at 3:56 PM, Michael Byington <ByingtonCOMS@...> wrote:
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Re: O&M and theatre stages
开云体育Is there a choreographer involved? Maybe when it comes to using dance steps that could be incorporated into the “blocking“ processDoug Gilbert? On Jul 31, 2023, at 10:30 AM, Anne Evrard (MCQ) via groups.io <anne_evrard@...> wrote:
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Re: O&M and theatre stages
开云体育Hi folks, ? This general? area of O&M practice has been a long time interest of mine. Many years ago, I worked for a short time as a professional actor, and was in many college and community productions. ?Before going back to Graduate school when in my 50s, to get the training to take the COMS examination, I was from 1989 through the early 2000s, a Registered Drama Therapist through the North American Drama Therapy Association (NADTA). Once I got into COMS training, I did not have the time to continue to get the necessary CEUs to keep up my Registered Drama Therapist credential, so in commenting on subjects related to any aspect of drama and disability, I ethically must disclose that I am no longer a Registered Drama Therapist (RDT), but am commenting as a COMS. In my youth, however, I did my first Masters in Speech/Theatre with A Drama Therapy emphasis, largely because of my interests in insuring that people with disabilities, and particularly, people who are blind or visually impaired, have opportunities to participate in all aspects of professional and amateur theatre. As a legally blind person, this of course includes myself.? ? One of the first comments I want to make is that I am so pleased to read Anne Evrard ‘s post and to see that her student is wanting to be involved in multiple aspects of university theatre. Obviously, it is my feeling that we need to continue to push the envelope on behalf of blind and visually impaired thespians to be able to enjoy full inclusion in all aspects of the theatre arts. ? I will comment concerning the specific O&M questions she has asked, I then will share a few thoughts about other access and inclusion issues that the student may experience ? When we consider stage markings and orientation? cues for blind performers or stage staff, it is important the remember that no two stages will have exactly the same features. When most theatre goers think of a stage they think of a proscenium configuration or proscenium with an apron and/or orchestra pit. These stages are of course raised, and in the case of an orchestra pit, the drop off can be as far down as almost an entire story.? This front drop off is of course a major potential hazard, and is the feature which a blind person on stage has to keep in their orientation. The tactile warnings of the stage edge must thus be quite pronounced. One solution is to put a lip? all along the front of the stage, or ideally a graduated warning.. It is true, that on many stages, sighted actors use illuminated tape markings to find their positions on stage when entering a dark stage after a scene change. This is not always done, however, and certainly is not the only solution that is employed for sighted actors. If the theatre has a balcony, for example, much of the stage floor may be seen by the balcony audience. Thus quite often surface changes, or other detectable features are incorporated into the set design. Thus for making entrances on a darkened stage after a scene change, the sighted actors may indeed be using some of the same orientation cues that work for people who are blind. The important thing to keep in mind is that the edge of the stage is the greatest hazard to be identified. The lip or detectable markings for this drop-off must be very clear. They often can be made a part of the set design, but that must be something that the performer can notice in order to avoid the edge without great concentration. An actor is portraying a character on stage, They must be free to concentrate on their performance without consciously having to always keep track of the location of the edge of the stage.? One factor that can be helpful with some proscenium stages is the fact that there are often banks of footlights in use all along the front of the stage. One does not want to fall over these and then off of the front of the stage either, so the key there is to not only avoid the edge of the stage, but also the footlight banks. The heat of the footlights is often a good cue for these, but if the footlights are not used for all scenes, then whatever type of detectable warning surface changes are used may need to not be at the very edge of the stage, but rather just on the upstage side of the footlights. ? Many university stages may not be raised at all. Theatre in the round or arena staging may mean that the stage is at the lowest level, with audience being on graduated risers on two, three, or even all four sides of the stage. In these environments, the edge of the stage may not be a factor at all. Orientation needs to be on an object to object basis. Again, illuminated or reflective tape may still be used for some markings for sighted actors, but not to as much of an extent, because the stage floor is visible to much of the audience.? ? I found Dona’s comments about the actor she served with O&M training to be very interesting. This was obviously a person who was at one time sighted and then had to adapt his craft to having acquired blindness. At first, it was his desire, or at least he was given the task, of portraying the character he was playing as being sighted. This is of course an extra burden for an actor, and often one that a person who has had normal vision and then lost it can adjust to doing somewhat easily. It is much tougher for a person who is congenitally blind or visually impaired, not impossible, but can indeed be very difficult, because the person is being asked to learn some sequences of movement which may have never been a part of their navigation. They must make these very basic adjustments? while doing all of the work that any sighted actor must do in assuming a character. From Dona’s comments, I gather that the person she was working with, and with whose work I am not personally familiar, then became more comfortable with incorporating their blindness into characters being portrayed/ The part does not after all, have to be written specifically for a blind person, in order for the character to just happen to be blind.? This concept is one of the most difficult hurtles for blind, and other actors with obvious disabilities? to inject into the overall morass of theatre. We as a society have only recently gotten to a point where we can accept the race of a character to not have to have significance to the plot. People with blindness and other disabilities, after all, go into a virtually unlimited continuum of vocations, avocations, and lifestyles. Theatre is after all, the imitation of life, and thus I want to encourage any blind or visually impaired person looking at entering the theatre to promote this concept by auditioning for, and expecting serious consideration, for almost any role, whether that role is written for a blind person or not, and to realize that it should not be required to play the role as a sighted person just because it was not originally written for someone who is blind.? ? I have added the above paragraph to this post even though it comments on aspects of theatre not originally asked about.? I have done so because I believe that these are considerations that any person who is blind or significantly visually impaired should? consider. Feel free to share with students who might find the comments relevant. ? Michael Byington, Certified Orientation and Mobility Specialist President of Kansas Association for the Blind and Visually Impaired, Inc. Treasurer for Friends In Art of the American Council of the Blind 712 S. Kansas Avenue Suite 414D-F Topeka, Kansas 66603 (785) 221-7111 ? From: [email protected] <[email protected]> On Behalf Of Dona Sauerburger
Sent: Monday, July 31, 2023 11:50 AM To: [email protected] Subject: Re: [OandM] O&M and theatre stages ? William, great point! ?S. Robert Morgan told me he did fall off the back of the stage once — Dona ————————— Dona Sauerburger, COMS
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Re: O&M and theatre stages
Anne Evrard (MCQ)
开云体育
Thanks very much to all of you,? for your inputs!
Dona, thanks for your suggestions too;? I will see my student on Augut 15th? and I will ask him if he wants to communicate with S. Robert Morgan (my student speks fluently english).
Anne
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
De : [email protected] <[email protected]> de la part de Dona Sauerburger via groups.io <dona@...>
Envoyé : lundi 31 juillet 2023 12:50 ? : [email protected] <[email protected]> Objet : Re: [OandM] O&M and theatre stages ?
? William, great point! ?S. Robert Morgan told me he did fall off the back of the stage once — Dona
—————————
Dona Sauerburger, COMS
www.sauerburger.org/Dona
On Jul 31, 2023, at 11:34 AM, William Horton <willhortonpta@...> wrote:
--
Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@... |
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Re: O&M and theatre stages
开云体育William, great point! ?S. Robert Morgan told me he did fall off the back of the stage once— Dona ————————— Dona Sauerburger, COMS www.sauerburger.org/Dona On Jul 31, 2023, at 11:34 AM, William Horton <willhortonpta@...> wrote:
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Re: O&M and theatre stages
You need to find out how the school handles safety rules on the stage—Chris Tabb mentioned tactile floor markings and this is how you can enable your student to follow their policy. (I’m sure you are aware that stages are very dangerous due to the drop off at the front of the stage into the audience or the orchestra pit. One theatre major told me the professor would forbid students from sitting on the front edge with feet dangling because they should never be that close.) Sighted actors rely on glow tape to navigate the stage in the dark between scenes and these markings will need the tactile component although your student might need additional markings to locate entrances etc. ? On Mon, Jul 31, 2023 at 10:30 AM Anne Evrard (MCQ) via <anne_evrard=[email protected]> wrote:
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Re: O&M and theatre stages
开云体育Oh, Anne, great question!Many years ago I had the honor and privilege of providing O&M to S. Robert Morgan, the actor who later played the part of the bar owner and drug dealer (and Omar’s confidante) on “the wire.” ?By the time he got that role, he had become comfortable with making his character blind, but the first few roles he played after losing his vision, he played as a sighted person. He asked me to help him get oriented to the stage, like your student. He came up with installing little wooden bars, I can’t remember how thick they were, but I assume they were small enough to not trip people but large enough for him to feel with his feet. He of course worked it out with the theater to do that. ?? He mapped out exactly where he needed to stand and which way he needed to face throughout the play, and basically made his own decision as to what would be helpful. If you like, I can ask him if he would be willing to talk with your young student. He served as a wonderful mentor for my son, Stephan, when Stephan was an aspiring screenwriter. S. Robert Morgan now is founder and director of Essential Theater which, among other things, mentors and supports actors and theatre in the community (??) — Dona ————————— Dona Sauerburger, COMS www.sauerburger.org/Dona On Jul 31, 2023, at 10:35 AM, Chris Tabb <chris@...> wrote:
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Re: O&M and theatre stages
开云体育Have heard that thin ropes taped on the floor can give tactile guidance to position on stage that the audience cannot see.?-- Sent from iPhone Chris Tabb chris@... 512.660.2750 On Jul 31, 2023, at 9:30 AM, Anne Evrard (MCQ) via groups.io <anne_evrard@...> wrote:
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O&M and theatre stages
Anne Evrard (MCQ)
开云体育
Hi? from Quebec,
I have a student, 20 years old,? with light perception, who is going to study in theatre next semester.
I was asking to orient him on different stages, of the campus.
Of course, I will take our time to give him a good familiarization of each stage while working with him, but it will be without accessories/furnitures, without his classmates and with a regular lighting (not the one that will be for the performances).
Knowing that he won't use all the time his cane? while he will perform do you have any tricks or advices that I can give him?
Thanks in advance for your responses,
Anne
?-???????????????
COMS, Spécialiste en Orientation et Mobilité??
??? ?
CIUSSS de la Mauricie-et-du-Centre-du-Québec
Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504?
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@...
?Veuillez prendre note que je suis en congé un lundi sur deux.
-- Anne EVRARD?-?????? ??????? COMS, Spécialiste en Orientation et Mobilité ? ? ? ? ? ??? CIUSSS de la Mauricie-et-du-Centre-du-Québec Centre de réadaptation en déficience physique-Déficience Visuelle?Vachon
375, rue Vachon
Trois-Rivières (Québec) G8T 8P6
Tél: 1 (819)??378 4083? ext.1504
fax: 1 (819) 374 4967
E-Mail:?anne_evrard@... |
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