Abstract This article is drawn from field observations of deaf-led Deafinitely Theatre as they produced The DREAM for Shakespeare’s Globe Theatre in London. Focusing on a goal of the company to ‘put BSL [British Sign Language] centre stage’, I examine the ways that different languages and modes (including signs, speech, gestures, text, music) co-existed in the same space in spontaneous, unexpected, and hybridised ways. I suggest that the carefully chosen arrangements of the languages employed in the production exerted particular messages that went beyond BSL translations of Shakespeare, establishing clear articulations of the artists’ understandings of the positions that signed and spoken languages hold in day-to-day British life. The aim of this article is to disentangle the translingual, multimodal imperatives born within ‘deaf-led’ theatre, where deaf people and sign language are maintained as key grounding forces. Of interest is both language choices utilised in praxis, as well as how these decisions prompted debates between signers and non-signers, triggering reconsideration of preconceived notions of what ‘being deaf’ means. In re-presenting for an audience different people’s translingual and multimodal resources and experiences, I argue that these artists intentionally harnessed a form of conscious translanguaging to advance both practical and political outcomes.

中文翻译：

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舞台上有意识的艺术翻译

摘要本文是从聋人主导的Deafinitely剧院制作伦敦莎士比亚环球剧场的DREAM的现场观察中得出的。围绕公司“将BSL（英国手语）作为中心舞台”的目标，我研究了不同语言和模式（包括标志，语音，手势，文本，音乐）自发地在同一空间中共存的方式。 ，意外和混合的方式。我建议，精心选择的制作中所用语言的安排所传达的特殊信息超出了莎士比亚的BSL译本，从而明确表达了艺术家对日常英国生活中所使用的手势语和口语的理解。本文的目的是弄清“聋人主导”的剧院中所产生的跨语言，多模式的命令，在这里，聋哑人和手语被保持为重要的基础力量。有趣的是实践中使用的语言选择，以及这些决定如何引发签名者与非签名者之间的辩论，引发对“聋人”的先入之见的重新思考。在向观众重新呈现不同人的跨语言和多模式资源和经验时，我认为这些艺术家有意利用一种有意识的语言转换形式来促进实践和政治成果。