Introduction
Ultimate Goal: To be Cast In a Non-disabled Role
Can You Do Both: Get Work, Dispel Myths?
Introduction
Established in 1986, the Non-Traditional Casting
Project (NTCP) is a not-for-profit advocacy
organization (telephone: (212)730-4750) for
addressing discrimination and exclusion in theatre,
film and television. It works with unions, casting
directors and producers involved in 450 to 500
productions on Broadway, off-Broadway, residential
theatre and episodic TV a year to help talented
individuals make a living in the arts -- where
unemployment is traditionally 85 to 90 percent.
NTCP's Artist Files are a national resource of
approximately 2,500 actors' resumes and photographs as
well as the resumes of writers, directors,
choreographers, designers and stage managers. These
files have been used in more than 3,200 productions.
Here Sharon Jensen, NTCP executive director, and two
actors, George and Frank, who both have visual
impairments, as well some members of the eSightTM staff
and participants from the audience discuss disability
issues within the arts field.
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Ultimate Goal: To be Cast In a Non-disabled Role
From the audience: We didn't see people
with disabilities in the arts 20 years ago. Today there
are not many parts for people with disabilities, and
those parts which involve someone with a disability
are usually given to non disabled actors and actresses.
We need some way of generating more scripts about
people with disabilities. We need writers with
disabilities.
Sharon Jensen: I've been in the arts for
30 years, 12 of them with NTCP. During that time, I've
seen a change in climate. When I first started to
suggest casting a person with a disability in a role,
I would get this response: maybe next time. There was
no next time. Now 25 percent of the time we're getting
a positive response. Casting directors are more open.
We're even seeing people with disabilities playing
non-disabled roles.
George Ashiotis: That's ultimate goal: to
be cast in a non-disabled role -- even though you may
have a disability.
From the audience: I'm tired of the same
old stereotypical jokes about being blind - like you
see on CBS' Becker. The blind black man is unemployed.
I don't watch Becker anymore.
Frank Senior: I did extra work on Law &
Order. We need to at least start in background work to
show we are a part of society.
From the audience: We still do those
jokes -- even among ourselves. So we may not get rid
of those
stereotypes. It's a part of everyday life, and we can't
hide everyday life. We need to watch how we handle it
as individuals.
George Ashiotis: Knocking down stereotypes
is a long term goal, but we need to help writers to
involve people with disabilities in a more realistic
way. Even as a consultant, I've found it difficult to
get a writer to change non-truths. Two of my favorites:
Blind people not turning to individuals they are
talking to and blind people feeling the faces of others
as a way to gain a reference point.
Fernando Botelho: We must remember that
movies are not terribly realistic about anything. They
often present huge distortions. We in the blind
community must deal with distortions in much deeper way
because they affect our lives. We need to push for
accuracy.
RoseMarie McCafferey, Sharon Jensen and
Ruth-Ellen Simmonds: Youngsters who are blind
are often discouraged to go into arts because it's a
high unemployment sector. Is there way to let people
know what jobs are available in the arts? Not just
acting -- but writing, directing, administration,
accounting, public relations etc.? Less than .5 percent
of the actors and producers have a disability. Not
involving people with disabilities in the whole range
of jobs is a loss to the industry. Job openings are
mostly communicated by word of mouth. We need a formal
process. But, for now, do your research to pinpoint the
sector you want to enter, gain an internship and work
your way up through the ranks.
Sharon Jensen: Writers and producers need
disability awareness training.
Fernando Botelho and Sharon Jensen: Another
option is independent production, which not only can be
used to showcase your creativity but also your
marketing skills.
George Ashiotis: Writers and directors
tend to look for the dramatic. I'm not sure we can get
to reality. Producers tend to color it.
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Can You Do Both: Get Work, Dispel Myths?
George Ashiotis: We have to reach for reality
in portraying people with disabilities in the arts. We
have a long way to go. But we can do it by example,
producing quality work and being persistent.
Frank Senior: That's why NTCP exists. Maybe 10 years
from now we won't need an NTCP. In this field, you need
to believe in yourself. Standing in front of an
audience can help the rehab process, even if it's in
front of family and friends, who will give you a
standing ovation. But we have to move beyond that to
"real" audiences where our disabilities are incidental.
To do that, we need more writers with a perspective of
our community who can project real experiences instead
of stereotypes.
RoseMarie McCafferey: James Thurber said,
"Sighted people are blinded by their own vision." I
believe writers and directors can eventually be turned
around. In that regard, I tend to disagree with George.
Frank Senior: There's a remake "Butterflies
Are Free" into a film in the works. One of the main
characters is blind. Rumors are that they're going to cast
a sighted actor for that part. What do we do about it?
We're caught in a Catch 22. You need to be a star to compete
for that part, and the stars are sighted. You can't
gain that star status if you can't find work as an
actor.
George Ashiotis: The character is not
realistic. I've been blind since birth. I don't count
steps. I'm not careful.
Frank Senior: I overly exaggerate
actions. This reality. I make mistakes and accept it
as a part of being blind.
George Ashiotis: Yes, movies can
perpetuate myths that are damaging. We can't dispel
these myths easily because we're a small minority.
Frank Senior: I want a job first. Then I
can work on dispelling the stereotypes.
Fernando Botelho: As individuals, we have
to make choices and sometimes compromise. But we want
it all as a community. Arts are a resource. We should
all be encouraged to participate.
Sharon Jensen: As an organization, we can
gain awareness for the community. Each individual needs
to decide what is acceptable. Changing perceptions and
attitudes is a more generic undertaking. Next fall, we
plan to publish a resource guide about those who are
deaf and hard of hearing on the Net for writer and
producers - with such topics as interviewing
guidelines. The guide includes contributions from 25
people with experience at all levels in theatre, film
and TV. Next we'd like to do a similar guide for those
with visual impairments and ambulatory disabilities. It
took us 10 years to raise funds for the guide about
performers who are deaf.
From the audience: It seems like things
changed for African-Americans only when the civil rights
movement reached it peak. Do we become collective
activists or rely on individual advocacy to change
perceptions. It's a case of the chicken or the egg.
Sharon Jensen: I think we need to do both
all at same time.
George Ashiotis: I'm in a bind. I want a
job, but I want to help change the image of blind people,
too. But, I've found the great ones (such as Richard
Harris and Woody Allen) will give you the breaks.
Ruth-Ellen Simmonds: We are making progress.
What they have learned about you will affect
perceptions among others. That's happening.
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