This article focuses on representations of sign language, Deaf people, and interpreters in the arts and the media, through the analysis of buzz—such as the Lydia Callis's episode and the national anthem at the Superbowl—and of spaces granted to sign language users on various stages, such as concerts and theaters. Beyond "access" in the performing arts, this article argues that contemporary mises en scène of sign languages are sites of tension and confusion between a view of sign language as a means of communication and a view that allows sign language its own artistic expression and creativity. The author invites readers to reflect on models for shared public discourse space in which Deaf people are not only the recipients and beneficiaries of communication access laws but also the agents of the mise en scène of their language.

中文翻译：

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艺术和媒体中手语、聋人和口译员的代表

本文通过分析嗡嗡声（例如 Lydia Callis 的剧集和超级碗中的国歌）以及授予手语使用者的空间，重点关注手语、聋人和口译员在艺术和媒体中的表现。各种舞台，如音乐会和剧院。除了表演艺术中的“访问”之外，本文还认为，当代手语的现场表演是将手语视为一种交流手段的观点与允许手语具有自己的艺术表达和创造力的观点之间的紧张和混乱的场所。 . 作者邀请读者反思共享公共话语空间的模型，在这种模型中，聋人不仅是交流访问法的接受者和受益者，而且还是他们语言场景的代理人。