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'Motherland'
- a review
By Hannah Smith
Deafinitely was formed last year
by Paula Garfield, Kate Furby and Steven Webb. They
aim to provide opportunities for Deaf artist and to
create an inherently Deaf form of theatre. Their work
combines performance, drama in education and community
theatre. They are a unique company and their latest
production Motherland is also unique.
Directed by Paula Garfield and scripted
by Mark Sands, it follows the life of one woman, Gerturde
who grows up during Nazi rule. The play deals with the
forced sterilisation of more than 17,000 deaf people
in Germany during this period. It combines elements
of sign theatre, mime, dance and realism to produce
an effect that is powerful and shocking but also entertaining.
The domestic scenes of Gertrude and
her husband make use of the humorous symbolism of tea
and cakes to convey the intimacy of their relationship.
This was something the audience particularly enjoyed
and found accessible.
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Steven
Webb’s use of sign theatre was vivid and impressive.
His portrayal of the Nazi policy of burning books
was poetic and menacing. His character Wolfgang wants
to be accepted into the Nazi party and commits atrocities
against his friends. However despite his attempts
to escape his Deaf identity he ultimately realises
that he will never fit in.
To
me of the most powerful scenes was the depiction of
the sterilisation. The action suddenly became a musical
with the cast dancing manically and evoking the cabaret
style of the 1930’s. With aprons covered in blood
and lit by red light the doctors used props to symbolise
the surgery. The effect was macabre and exposed the
grotesqueness of such a policy.
The
production is thought provoking and creative both
in it subject matter and in its use of theatrical
devices. The integration of different visual elements
is inspiring not just for theatre of the Deaf but
also for future mainstream productions. I can’t wait
to see more from the Deafinitely Theatre Company!
Deaf
arts UK
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