Theatres of Learning Disability

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Winner of the TaPRA New Career Research in Theatre/Performance Prize 2016 

This is the first scholarly book to focus exclusively on theatre and learning disability as theatre, rather than advocacy or therapy. Hargrave provocatively realigns the - hitherto unvoiced - assumptions that underpin such practice and proposes that learning disabled artists have earned the right to full critical review.
Winner of the Ta. PRA New Career Research in Theatre/Performance Prize 2016

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Matt Hargrave

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“Theatres of Learning Disability is well-organized, clearly written, and carefully supported by disability theory, performance theory, and detailed evidence from chosen productions, including Hargrave’s own reactions to the work. … Theatres of Learning Disability is an important advancement in the underdeveloped field of disability and performance, effectively arguing how we can and must critically engage with disability art at the level of craft and aesthetics.” (Scott Wallin, The Drama Review, Vol. 61 (1), 2017)

“Hargrave’s book examines the field of theatrical practices involving actors with learning disabilities … . Hargrave’s aim is to establish a theoretical approach that goes beyond therapeutic or social frameworks and instead conceives of this type ofwork as a professional art practice. … Hargrave’s exclusive focus on the aesthetics of theatres of learning disability is still exceptional in the emerging specialist field of disability and performance … .” (Sarah Marinucci, Theatre Research International, Vol. 41 (2), July, 2016)

'Matt Hargrave's new book provides an outstanding overview and in-depth analysis of the different theatres of learning disability. It demonstrates an acute sensitivity to the social, political and aesthetic questions raised by practitioners of what has emerged as an important area of contemporary theatre and performance. Theatres of Learning Disability pushes the boundaries of the field and asks the difficult questions about how we discuss and value the artistry of actors, creators and participants.' - James Thompson, University of Manchester, UK
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