The new Stephen Hawking biopic, ‘The Theory of Everything’ caused heated discussion before it was even released, with the announcement that Eddie Redmayne, an able-bodied actor, would be playing the main role.
Once the film hit cinemas, the controversy only escalated, with some praising Redmayne’s performance, while others questioned whether the role should have gone to a disabled actor instead.
In many cases (for example, the wheelchair using character in Glee), there is no reason why a disabled actor couldn’t play that part just as well, if not more realistically, than an able-bodied actor.
A wheelchair user will have genuine experience, not only of living with their disability but also of society’s attitudes towards them, and how that can make them feel or behave.
But then, actors by their very profession should be able to give a convincing performance of anyone; nobody is asking for someone playing a serial killer to go out and butcher a few friends for authenticity… So, why is it so ‘bad’ when an able-bodied artist takes the role of a disabled character?
The short answer is; equality.
An able-bodied actor can audition for literally hundreds of roles; the casting breakdowns are often quite flexible. Unless it comes to disability. There’s never really been any reason why someone who is deaf cannot play a regular in Hollyoaks, pull a few pints in the Woolpack or even accost a few spies in James Bond, but it somehow just doesn’t happen.
Disabled actors are limited to specifically disabled characters. These are few and far between, usually have a depressingly tokenistic point to their disability – “Oh my gosh, of course the deaf guy did it! He totally lip-read her confession that she secretly likes audiologists and killed her in a rage!” – and are rarely starring or regular roles.
So, essentially, the argument is that if disabled actors are already very limited in the parts they are being offered, these shouldn’t be taken by able-bodied artists who have a much greater range of opportunities.
But what does this have to do with Deaf actors?
Well, recent years have seen a great boom in Deaf talent, on stage and screen. A lot of artists are becoming more respected, and more well-known, despite the fact that there are still so few roles in mainstream productions.
But, as the recent French film La Famille Belier showed, there’s still an overwhelming tendency to cast hearing actors as deaf characters, and often communication difficulties are cited as a reason for this.
Are Deaf actors being overlooked, simply because production companies don’t want to use interpreters? Do the companies not know that interpreters exist? I don’t think this can be the case, unless it comes down purely to expense, in which case it will only get worse if Access To Work and other support funds continue to be slashed.
Are Deaf characters simply not being created because writers don’t know enough about deaf life or society? Are they scared of not doing our community justice? I don’t think it can be this either – there are many different ways in which advice on authenticity could be sought.
Is it too difficult to have Deaf characters interacting with their hearing counterparts? I think this might be at least part of it.
In my experience, there is a narrow view on how deaf characters might communicate within a show, which limits them to scenes where an interpreter might feasibly be present. So, we don’t get any good backstory or fleshed-out characters, because it’s too hard to film them socialising. Unless they just sit at home, alone, plotting evil plots. Ooh, hello again stereotype.
Of course, I can’t speak for the industry as a whole. I can’t speak for all Deaf actors. I can’t even really speak for myself; I change my mind so often. But it does seem as though Deaf artists are facing a whole other set of barriers, just because our communication methods can be seen as ‘difficult’.
I’m not sure how we get round this. I’m not sure how exactly we blow their tiny minds and show them how awesome Deaf characters can be when played by Deaf actors. Particularly the ones where deafness has literally nothing to do with the storyline.
Sure, in Deaf media, we see this all the time – but why are we limited to our own in this way? Damn, we need to break into the public consciousness. Any ideas how we can do it?
Having said that, I’ll be doing some mainstream shizzle soon. If you have any great arguments for more Deaf characters, portrayed by great Deaf actors, fling them my way so I can pass them on. I’ll pin down the top bosses and force them to listen. I’ve no idea how it’s going to go down, but I’ll keep you posted.
It’ll probably involve jam.
Emily Howlett is a Contributing Editor to this site. She is a profoundly Deaf actress, writer and teacher. Emily is co-director of PAD Productions and makes an awful lot of tea. And mess. She now has not one, but four grey eyebrow hairs. C’est la vie. She tweets as @ehowlett
The Limping Chicken is the UK’s deaf blogs and news website, and is the world’s most popular deaf blog.
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Andy not him, me.
January 26, 2015
There is just one thing you haven’t mentioned about Deaf actors. That is whether they are good enough. Showbiz on the whole is incredibly competitive. People will pretty much die to get into leading roles, regardless of whether they can act or not. There is a lot of mediocre (hearing) talent around that simply gets rejected. Everyone thinks they can act, because they think it is easy.
The reality is different and I speak as one who performed in The Rivals, Arms and the Man and The Importance of Being Earnest. I can’t have been that good because I wasn’t offered a job as a professional actor. The plays were directed by Miss Marie Gardiner assisted by Terry Ruane who DID go on to become a professional.
The point is, it’s all viciously competitive and it’s a known hazard of the showbiz world that lots of people simply get elbowed aside by the violently ambitious. Read the autobiographies of the stars and you will read about some very nasty plots to put others out of the running for the good jobs.
In an atmosphere like this, Deaf people are very much at a disadvantage. I worked as a professional freelance photographer, frequently photographing the famous who visited Cornwall. The jealousy and antagonism from the other photographers was quite incredible. I had two BE aids at the time, I have never really tried to hide my aids and in any case my speech sounds as deaf as it comes. I’ve been quite used to abuse, backstabbings and other discriminatory treatment from rival photographers. THIS is why we need those laws. Sneer ye not at the Equality Act 2010.
But in spite of everything I prevailed and kept myself in work because my stuff was good. Employers judge photographers on the quality of their work. They don’t worry about deafness or disability, they look at what they see and if they use your work then you have succeeded. That is what I did. I worked and worked until my photography became good enough so that editors would print it. Only later did I allow them to know that I was as deaf as the proverbial.
Only once was I refused work and that was by the BBC. I was offered a job as a freelance reporter. I had been sending them news items from my area for a while and they asked me to attend for an interview. However when I turned up and they heard my flat deaf voice and saw the hearing aids there was a rapid about-face. Luckily the Beeb are a bit better now!
So that’s what I think. If you want to work then you have to be the best. Second best isn’t good enough. Not only will it put hearing noses out of joint (an activity I shamelessly enjoy) but it will earn you money. But you must be ruthless with the spoilers, the rivals, the destroyers of your career.
That’s how I think it should be done. Showbiz is a harsh, harsh world. You have to get a grip or call it a day.
Ted Evans
January 26, 2015
For me, as a director (and wannabe writer) it’s a question of authenticity and the quality of performance. I don’t believe in typecasting roles to people’s disability, they must always be the best actor for the role, which in many cases will be the disabled or deaf actor. However the reason why I feel it is sometimes possible for able-bodied/hearing actors to portray (some) of these roles is because the potential of someone becoming disabled or deaf, it is possible in many cases, it is condition that could affect them physically, medically and anatomically. Someone can also change culturally, albeit over time and even then to some degree but it is still possible. People, like (Stephen) Hawkins can change over time or develop conditions but you can’t change your skin colour or change your race without extreme and unnatural intervention. You could also become homosexual or transgender. We are not always born with a label, people are influenced and shaped by many things in life, it is part of the journey and (for me) part of being an actor is about discovery. With regards to playing cultural roles, it is possible to master language and it is possible to understand/acknowledge culture and perspective – if not do we stop actors playing foreign characters? It’s about how much effort they put into these characters and whether they are good enough. Most hearing actors aren’t successful with Deaf roles but then the masses can’t validate a minority language or such exotic character traits. The other issues here are 1) do we have enough deaf and disabled actors professionally trained? (I don’t think we do) and 2) do we have enough work to sustain the careers of current, let alone more, deaf and disabled actors? (Definitely not) We need more content/work and thus a need for more deaf and disabled actors and they need to be developed professionally. There are hundreds and thousands of wonderful ethnic actors of all races but there isn’t the same quantity of disabled or deaf. It’s a tricky one… For me the simplicity of it all is the actor must be right for the role/character and overall, the story. Story is key. It shouldn’t be about politics, pleasing people and most of the time it is to do with marketing (with the big films). I personally just want to see the best performance whoever that is and it depends on their ability to portray, and essentially be the character in question. We can argue and complain about the situation but you have to look at the entire picture to understand the complex issues surrounding casting these roles. I wish we did see more disabled and deaf talent on our screens, Game of Thrones is a great example I think, look how much people love Tyrion Lannister (Peter Dinklage). Whilst his character (and story arc) occasionally references his disability, it doesn’t define him and he plays a significant role in this popular series. I feel this is down to content and the writing. So whilst it is important there are more opportunities for our Deaf and disabled actors, it is just as important to remember the content doesn’t end up being discriminating or patronising… as we unfortunately sometimes find dramas/stories are in the mainstream. No more tokenism!
Nordic actress
January 28, 2015
Maybe many of you, don’t know that in world has many deaf professional actors. In Nordic has around 15 deaf professional actors, they have an education as actor. You, directors, should be more brave to connecting to deaf actors, sure you will find one or more good actor for your movie or TV-serie. You, writers, could be brave to writing stories where is deaf person, as a witch, as a CIA agent, as an interpreter, as a dancer, or as a hero. Because deaf people can do it too. Deaf gives own language, Signlanguage, it is inspritation increase for movie or TV-serie. I really think that Lord of the rings could use many deaf actors, because it is fantasy world where is many different languages. In the all fantasy movies could have deaf actors. And in drama movie could be romantic between of deaf and hearing, because it works in real life. In the horror movie could be so cool if head role is deaf, different point view of sound, feel and see. Says an actress from Nordic.
pennybsl
January 26, 2015
Wow, very intensively long comments! Frances Ryan in the Guardian did that approach recently, asking about similar issues – see this link: http://www.theguardian.com/commentisfree/2015/jan/13/eddie-redmayne-golden-globe-stephen-hawking-disabled-actors-characters – and the comments reveal various attitudes.
Deaf actors CAN rise to new challenges an be on par with leading actors with the available – that is the key – experience supported by forward-thinking directors and producers.
It was fascinating watching Marlee Martin in the Apprentice USA last night at her controlled restraint to apparent (to us Deaf viewers’ perspectives) side-lining and patronisation in her group’s task, and came out as a strong positive team-member even when her team lost the task.
Tim
January 26, 2015
There are plenty of Deaf people who will get their job and then turn around and sabotage the chances of other Deaf people, with high-minded excuses to do with pretend-equality and other ‘right-on’ guff.
They will get all hot and bothered when hearies are “discriminated against” for these roles, but you won’t hear a peep out of them when it’s Deaf people being kept out.
Oh Dear
January 26, 2015
Hawking went disabled over a period of time and therefore impossible to get someone, like Hawking, to act out his character.
Kevin McHale who played Artie is one of the best dancers in the show. He was required to dance and act as a wheelchair user because there were scenes where he was dreaming and the character was dancing and singing. If you had a disabled wheelchair user playing that role, then what is the producers suppose to do? ‘Hey, can you get up and dance?’ The character Artie was disabled after being in a car crash, has hope for a cure in the future – to be a dancer/singer and his storyline line revolved around that.
Both examples for this article is poor. Moaning like Lenny Henry did last year about the lack of black actors on TV is ‘sour grapes’. It has nothing to do with equality. It’s all about trying to get special privilege and discriminate against others by way of envy and bitterness. What Tim said above, ‘hits the nail on the head.’
Instead of deaf people moaning and waiting for hearing people to occasionally include a deaf character, mostly portrayed negatively, why don’t deaf writers get together and write a large script. It can be 2 hours long as a film or a 10 mini-scripts for a series of 10 episodes. Present it to the ‘big wigs’ and see what happens.
J. Michael Straczynski, who wrote Babylon 5, spent 10 years developing a 5 seasons story arc and waiting for his chance. Babylon 5 became a popular show and profitable. He had his own fan website and explained over the years how hard it is. For example for every 1000 scripts Hollywood producers received, 1 got made and shown on TV and 999 goes in the bin.
If only deaf people get together and work together, maybe, just maybe, we will see something on TV. For now I’m happy enough to watch Switched at Birth.
larraine
January 28, 2015
I have tryed to get into deaf arts in Perth west Australia but never seem to have any luck, it would be so good to have somewhere to go and preform.