Working methodology adapted for deaf youth for the production of theater performances


This methodology will include teaching strategies tailored to the type of deficiency, respectively hearing, so that the 30 young deaf people will improve their skills and enhance digital skills in order to perform special effects in theater production. It also aims to foster this kind of learning to other deaf people interested in these technologies.


The idea and evidence at interim reporting of the Youthpass curricular has been well received by the agency. Our request to make these changes reflects our reports to date.



Career Development for deaf young people in drama”


Synopsis: This curriculum has been created with the aim for the deaf young people to acquire new methods of artistic expressivity through the language of the gestures, thus helping them to discover the theatrical signs, to develop their imagination, and to assume the means of expressing their artistic personality.


Target group:        30 young people    

Training duration: over 6 daysx 7 hours (42 hours)                         

General objectives:

Development of drama skills

Development of digital skills in producing theatre performances

Particular objectives:

Defining the specific terms of the theatrical language

Stimulating the creativity through the specific games of the acting art

Non-verbal communication through specific means of expression

Discovery of new signs in creating the scenic exercises

New methods of creating the dramatic character

Assumption of the specific theatrical technique in performing the scenic exercise

Creation of working tools in acquiring the artistic expressivity










Defining the specific terms of the theatrical language


New terminology

Together with their trainers, the young people will create specific exercises, starting from the habitual actions of everyday life, and will transpose them scenically, by using the corporal language. The aim of these exercises refers to the movements control that the actors should have, to the relation to an imaginary object, and to the creation of the artistic image of the character. The dramatic exercise consists of a short story including a turn of events. Thus, we will understand that, within the theatrical language, the gesture is more significant than the words, and the exercise will be called: “who am I?”


Acquisition of techniques to express a state through one’s own body.

Trust in one’s own imagination and its stimulation with an aim to obtaining the artistic performance.

Case study: search of the scenic character through the assumption of a certain atmosphere, of a certain way of walking, of gestures


Stimulating the creativity through specific games of the acting art

Discovery  of the scenic space and familiarization

The trainers and participants will play specific scenic games in order to acquire: concentration, respecting the scenic space and the distance to the partner, the relationship with the partner from copying the partner’s gestures to proposing characters that are different from one’s own personality. This course is mainly based on the group exercise, and on forming a team which to work together regardless of the individual personality. The names of the exercises will be exact: the bus, the boat, the mirror, good day!, the three spacessamurai, you are me.


Familiarization with the scenic space

Relation to the space

Acquisition of the courage to propose scenic solutions

Creation of a relationship with the stage partner and acquisition of the experience regarding the acting area

Knowledge of the means of scenic expressivity

Self-outdoing the everyday state through the assumption of the scenic state


Non-verbal communication through the specific means of expression of the scenic games

Means of communication without words

Muteness represents one of the most important means of expression in acting. This is why the scenic exercise becomes more interesting when developed through muteness. Muteness is not silence. We will try to create a scenic noise, a plastic noise so that acting to become expressive and pictural. We will approach the Grotowskian type of exercise where the movement is infinite, the actor’s imagination is maximum, and his intuition can give a form to his body’s movements.


Acquiring the working tools in creating the artistic personality

Trust in oneself and in the scenic partner 

The transfer of the personal means of expression to the character to be played and the creation of a new typology

Free expression, without constraints

Outdoing the limits and leaving the personal comfort area


Discovery of new signs in creating the scenic exercise

Inventivity, imagination, building

A common language, expressed by gestures, is to be discovered, and the theatrical sign will be created beyond the barriers of a certain language, a certain tradition, a certain religion etc.  Starting from one’s way of acting on the stage, we will create an exercise within which every participant enhances the artistic moment. The beginning is a commonplace action that will be continued by another one, thus creating an ad hoc story, without preset signs. The sign is discovered together with the partner and the action to be built will be then taken over by another partner who creates new actions which will be used by the following partner to the last actor who closes that state and can then propose a new action, a new sign – thus the exercise can continue endlessly. The name of this exercise will be The Story never ends.




Developing the team spirit

Discovery of the personal motivations in order to build the scenic relationship regardless of the means of expression used (gesture, movement, break)

Detachment in relation with the competitive principles and creation of new methods of approaching a new daily special situation


New methods in creating the dramatic character


Playing principle



This type of exercise is called The encounter. According to the title, the actor starts from a simple greeting addressed to his/ her partner. The exercise restarts with a new approach and a new character type. The participants will discover both different types of characters and several versions of their own personality. It is important for them to force their imagination to discover a diversity of states, emotions and alter ego-s.


Understanding the principle of the action and counteraction

Self-knowledge and knowledge of the partner

Surpassing the limit situations through their own methods discovered during the scenic exercise


Assumption of the specific theatrical technique in creating the scenic exercise

New terminology

The difference between the stage and another space is represented by the specific scenic language. While a visitor in a museum is invited to take a certain direction in order to contemplate a famous picture, the actor on the stage is invited to perform a certain action towards the so-called  garden or towards the so-called yard. A simple bar in everyday life is called fly bar in theatreLight is coming from a spot which is a specific term used in theatres, concert halls etc We will discover the specific technical terms used in the theatre and we will try to name them using the language of gestures. This knowledge is crucial for the actors not  to have accidents in the acting area.









Discovery of the space according to the specific terminology created through  distinct signs.

Creation of gestures to define the specific technical terms in theatre

Concept and innovation

Creation through diversity


Creation of new working tools in acquiring the artistic expressivity

Creation of a new professional performance

New means of scenic expression and new working tools will be discovered during the scenic exercises and the familiarization with the characters, and the participation of both the trainers and the target group represents an opportunity to develop a distinct performance. This is why it is important to reunite the exercises in a story which will make the experience of the theatrical performance possible. During the few days of the workshop, the whole team will be dedicated exclusively to the artistic activity in order to create a perfect theatrical performance in which every detail will be important: costumes, movements, expressivity, sound and light.  


The experience of the theatre rehearsal

The role of the logic in the scenic story

The importance of the chronology in the dramatic space

Acquisition of a specifc language expressed through gestures

Creating a performance by using the tools and means of the professional expression


The importance of the scenic experience


Techniques of creating the dramatic character

An actor also demonstrates the assumption of the role in the non-scenic space. The actor is lucid and present assuming the role and the character even when he/she is not on the stage, but in the dressing room, in the makeup room, in the wings etc, as well as in his/her daily life.  The actor is not separated from his/her character and is continually searching and building the role. At this stage it is important for the actor to learn to pay attention to every detail in order for him/her not to alienate from the experience of his/her role – therefore, it is necessary for him/her to establish certain rules, to decide a fixed schedule, to take care of his/her body exercising  permanently, and to be aware of the way of walking and moving.

Development of the specific attention regarding the experience of the role

Understanding the importance of the costume and make up

Closeness to the objects that are used on the stage: concentration, attention, responsability





The exercises should be taught by specialists in the acting art

The acting area becomes the most important thing in performing the scenic exercise. It has to be clean and used only when the actor is ready to enter it.

The scenic exercise is performed after the rules have been explained and everyone has accepted and understood them..

The purpose of the exercises should not be exposed before the action to take place because this would slow the creative process

Once the Curricula is respected, valuable techniques and new methods can be created during the work

The participants’ mission in the workshop is to try to execute the exercises regardless of their difficulty, in order to acquire the necessary means to express in the scenic area.

These workshops are based on the actual work performed on the stage, on the action – without detailing the way of expression, in order to stimulate a permanent research –, and on the continual communication, irrespective of the language or way of communication.


Career Development for deaf young people in drama”


Synopsis: This curriculum has been created for the deaf young people to acquire the technique of scenic lighting from the basic notions to the creation of the specific atmosphere of the dramatic action.


Target group:        30 young people   

Training duration: over 1 day (7 hours)                                     

 General objectives:

 Development of drama skills

Development of digital skills in producing theatre performances

Particular objectives:

Initiation in the specific technical language

Role of lighting in the acting area

Defining the terms of the digital technique

Creating the lights set-up for a dramatic scene









Initiation in the specific  technical language

New terminology

The directions of application of the lighting design in the established scenic context will be presented to the participants. The geography of the space is taken into consideration. The limits and depth of the stage are taken into consideration taking also into account the position of the characters in the given area.

Acquiring techiques of creating the space using the intensity of light according to the required atmosphere. The deaf young people learn the basic notions in what regards the diffusion of light on stage, using the diffusion filters, and fresnel lenses.



The role of lighting in the acting area

Comprehending the area and atmosphere of the performance

The trainer presents the points of interest that have to be lightened on the stage (accents on the characters and actions, and less on objects). Light is used to amplify the dramatic situation and to create links between scenes.

Comprehending the acting area

Relating to the space, characters and objects.

The action area is to be known by using concentrated lights clogged by shutters in order to limit the viewer’s attention to the area of interest.

Acquiring the notions regarding parameters such as: increasing and decreasing the intensity, using colored filters with a definite aim (the times of day, a romantic atmosphere or a monotonous action).



Defining the terms of the digital technique


New terminology

The participants, assisted by the trainer, will use the lighting desk and the desk of the command programs.

Acquiring the working tools in creating a theatrical scene

Self confidence and relation to the other participating technicians in the theatrical performance (sound technician, set designer, possibly stage hands)

Acquiring the programming notions of the special lights (using the desk that includes: controller, channel mixer; fader for each channel and fader for master dimmer

Acquiring the working techniques with analogical and digital systems.


Creating the lights  set-up for a dramatic scene

Originality, artistic creation, theatre technique

The trainer offers the deaf young people the possibility to imagine a dramatic scene based on the digital effects of creating the specific lights of the theatre stage (the dramatic force of a romantic scene at the sunset, lighting a character during a monologue interpretation, creating the atmosphere of a torrid summer).

Self-confidence in settling the apprehended notions.

Acquiring the professional technical language.

Comprehending the working tools that are necessary in developing the dramatic action from the point of view of performing a correct and original set-up.



Exercises should be taught by specialists in the theatre technique field

The acting area should be free of any useless props.

The practical application is to be performed after the rules have been presented and unanimously accepted and understood.

The mission of the participants in the workshop is to try to work together with the specialist following the professional rules of using the technical equipment.


NoWordsArt - This is the official website of the project entitled "CAREER DEVELOPMENT OF YOUNG DEAF PEOPLE IN DRAMA", funded by the European Commission through the Erasmus +, Strategic Partnerships in the youth field. This site does not necessarily represent the opinion of the European Commission.