Date of Defense

11-21-2025

Date of Graduation

12-2025

Department

Theatre

First Advisor

Lofton Durham

Second Advisor

Tanya Timmerman

Abstract

National Theatre of the Deaf is known for being the first professional sign language theatre company in the United States; however, the complexities of its origins and founders are rarely examined. This thesis explores the relationship between Deaf performer and educator Bernard Bragg and hearing set designer David Hays, along with what was prioritized in the creation of the company, and the aftereffects of these choices on the National Theatre of the Deaf and their Deaf and hearing audiences.

Bragg and Hays began correspondence in 1966, as they developed plans for what would become the National Theatre of the Deaf. From Hays’ first letter to Bragg, he emphasized a want to prioritize two things: theatre that is intelligible to the Deaf, and an exceptional new artform. Much of their subsequent correspondence focused on methods and priorities to creating this company. One of the biggest discussions was over the language to be used. Ultimately, they chose to develop a new form of theatricalized sign language, known as “sign-mime.” This had far-reaching effects, particularly on intelligibility to Deaf audiences.

Audiences of National Theatre of the Deaf were primarily hearing, with some sources stating 85% of audiences were hearing, despite being the only touring sign language theatre in America. Hearing audiences found the performances delightful; Deaf audiences, however, were much more divided. One of the largest complaints was difficulty understanding the signed material without being able to access the voiced interpretation provided for hearing audiences. Other major concerns were the difference between exceptional theatre in the eyes of the hearing versus the eyes of the Deaf, as well as a lack of Deaf culture in the National Theatre of the Deaf’s work. In their entire body of work, only two pieces touched on Deafness -- “My Third Eye,” and “Parade.”

Another issue that demonstrates the company’s choice of priority was the lack of credit given to Bernard Bragg. Despite his pivotal role in shaping the company, Bragg was not acknowledged as a founder until 1993, after Hays stepped down as Artistic Director.

Despite these issues, National Theatre of the Deaf created many positive impacts. It paved the way for scores of Deaf artists, many of whom are still in the entertainment industry today. Beyond their touring troupe, their summer training program touched hearing and Deaf artists alike. Sign-mime has also had long-reaching effects, having influenced most sign language theatres and performances since. Ultimately, the National Theatre of the Deaf did succeed in achieving Hays’ goal of creating a new artform presented by the Deaf, despite its loss of other goals along the way.

Access Setting

Honors Thesis-Open Access

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