DEL-SIGN:

a physical approach to performance

Del-Sign is a combination of Francios Delsarte codified movement techniques of the late 1800's and the foundations of American Sign Language (ASL). It was developed through the Interborough Repertory Theater (IRT) in New York City's Greenwich Village. While running IRT Luane Davis found that professional actors seemed to have a consistent fatal flaw in their techniques. However skilled they might be at vocal and facial inflections, they did not have versatility in their physical communication. Luane Davis then incorporated the IRT ensemble, creating workshops and developing the approach. This development began in 1991. It is a physical approach to acting adding to the body of knowledge already employed by the acting community. Methods of Stanislavsky, Meisner or Chekov are a good basis for the Del-Sign technique. Del-Sign allows the actor to increase his/her physical vocabulary when creating a character using an "outside in" approach. The other methods will allow for an "inside out" approach knowing them both gives the actor more control and ideas when wanting to influence an audience.

The mission of the Del-Sign Project is to change the face of theater by fostering a new theatrical vocabulary. The Del-Sign Project's goals are:

• to enhance an individual's acting technique by building a physical vocabulary.
• train a new generation of actors grounded in a technique that encourages the bridging of cultures.
• and unite actors and audience, both Deaf and hearing, in a common cathartic experience that goes beyond the spoken word.

There have been many productions utilizing this technique. The first was Michael Frayn's NOISES OFF. Done similar to the standard "Deaf Theater" styles commonly used. It played to standing room only houses. Next was an experimental production called MOTION POETRY in which six different directors exhibited their ideas of what physical theater looks like. MIDSUMMER NIGHT'S DREAM was the hallmark of the Del-Sign technique and was critically reviewed with raves. The performers themselves took the concept and ran making this an exciting new venue in theatrical style. Soon after we produced Feydeu's A FLEA IN HER EAR, discovering that farce isn't a good foil for the depth of Del-Sign. Next was a workshop production of TWELFTH NIGHT which developed nicely into a full production later that year. Next a collaboration was made between the IRT and the National Technical Institute for the Deaf (NTID) and it resulted in a landmark production of THE TEMPEST which brought NTID students into contact with professionals allowing them to come to New York in an AEA showcase production. The Hands Across Cultures Program was then established with cooperation from a variety of Ethnic Clubs on the NTID campus EYE MUSIC was done in cooperation with the Hispanic Deaf Club, LUTE SONG with the Asian Deaf Club and THE EMPEROR JONES with the Ebony Club. Each of these productions were moved to more visible venues and EMPEROR JONES won the 2002 Off Off Boradway Review (OOBR) Award for best overall showcase.

The following year NTID produced a touring production titled WALLS exploring when you "hit the wall" in of understanding. WALLS explores the confusion created by the 9/11 attacks and went on to show how the appreciation of the edges of different cultures can create a bridge to better understanding. Breaking through the "walls" of miscommunication and distrust. This show inspired the NTID student actors to begin the formation of the NTID Drama Club.

In the Spring of 2003 Patrick Graybill and Luane Davis Haggerty co-Directed a production of Larry Shue's THE FOREIGNER. The balance in directorial vision of male/female, Deaf/hearing, traditional/experiemental brought the technique to a new level and audience members who returned to see the show more than once remarked that the style was becoming clearer.

In June of 2003 a professional workshop of the Del-Sign technique brought NYC professionals and NTID Drama students together for training culminating in a workshop production in Spring 2004 of a new adaptation of Bizet's CARMEN.