Once Upon a Mattress

What does a Director of Artistic Sign Language do? What’s their role on a production?  

Director of Artistic Sign Language, or DASL (pronounced like the word “dazzle”) for short, is a part of the creative process in theater, regarding language use on stage. There are multi-layers in the creative end depending on when the DASL joins in the company’s creative process, whether before, during, or after the cast has been selected for the show. In a nutshell, we focus on translation (English script to ASL), coaching with deaf and hearing actors, and consulting in a way where the story showcases ASL or the deaf experience authentically. The most important element in the job is having an open mind and open heart when working with different artists’ perspectives. This is important to me. For one, I become the actors’ preferred DASL when they are a part of a show and there isn’t a DASL on set. Two, creative team members (directors, playwright, choreographer, etc) will not feel threatened when I pitch suggestions that support their vision. The ultimate goal is understanding the story and how I can support that vision from start to finish.

How did you come to be a Director of Artistic Sign Language?  

The process to become a DASL is not a common one, as many in the field can say. I initially got my start when a friend of mine noticed my talent in translating songs as a hobby and asked if I could translate a song for a no-budget music video. Freshly graduated with my BA and working in a food service job, I took on the chance for something different to see where it could lead me and the rest is history.

What is the best part of your job? What is the most challenging?  

The best part of my job is two things: translation and working with the actors. As mentioned before, music is my strongest suit, so when a musical is offered to me, that’s it: I’m jumping into translation mode in perfecting what the song would look like in sign. Then when I switch over to the actors, especially when they are deaf, we can have that back-and-forth conversation that helps further improve the translation. The relationships between DASL and actors are important as they help make sure the signs are clear and the actors feel ownership in signing their lines.

The most challenging part is deadlines. At the last project I worked on, I was a part of a group of three DASL that had ten days to translate Shakespeare’s Titus Andronicus into ASL. The whole thing. That is a HUGE feat and honestly to get a translated work for something like this needs a minimum of two months, just for the first draft. It was very challenging in terms of not only understanding Shakespearean English to modern-day English, but also finding the ASL equivalent for the text. Three languages across ten days is a feat, I say.

What is always true for a production? What changes from project to project?  

What’s always true is working with the deaf actors on their signed lines. This relationship is vital as it helps me see where they are in their character development and gives me an opportunity to guide them where they need to be, something that hearing directors often overlook. By no means do I direct them, but more so work in tandem with the director that provides the actor access to the information needed in the process. Secondly, the casting of hearing actors who do not know how to sign for a signing role before the DASL steps in always happens. This makes the signing ability an afterthought rather than the ability the actors themselves know beforehand. It’s challenging but not impossible to coach hearing actors with their sign lines. However, those who are a part of the signing community, deaf and hearing, will know their skill level and be distracted by that rather than to see actors as characters in the story.

Every production is always different. What is true depends on how well the creative team understands and knows how to utilize a DASL with realistic expectations, because I’ve been asked to make a hearing non-signer actor look like they have been signing all their life. That is not a realistic goal, but I can make it as close as physically possible.

How can the performing arts industry commit to increasing access for the d/Deaf and Hard of Hearing community?  

First things first, hire the DASL before hiring the cast. This will help push the story forward so much faster and make the work much easier for all parties. Because the end results will be providing access to the d/Deaf and Hard of Hearing communities with their language being authentically showcased on stage.