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Mime

The deaf tell; others listen

By May Chan

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The audience let out a collective gasp and then burst into laughter.

No word was uttered in the visual comedy, and yet the humor was there.

The mime was presented by the Hong Kong Theatre of the Deaf.

Being impressed by the performance of the American National Theatre of the Deaf in 1986, Mr. Samuel Chan strongly felt that it was a shame there was no deaf theatre in Hong Kong.

That was the moment that he came up with the idea of establishing a deaf theatre.

He founded the Theatre after studying performing arts for the deaf for 6 months in 1987.

It is composed of six deaf actors, including Mr. Chan, who is also its president.

It wants to drive home the message: “Do not look down upon deaf actors in Hong Kong.”

With this mission in mind, it hopes that the performing arts of the deaf can be promoted locally.

Because the actors express their ideas through sign language, this interview for Varsity was conducted with the help of a signer, Miss Susan Chan.

Like other theatres, the Hong Kong Theatre of the Deaf performs original scripts regularly.

Mr. Chan has written many original plays, like “The Crazy City”.

He has also collaborated with other scriptwriters.

For example, with the Australian Theatre of the Deaf, he produced the renowned “Creation”.

Sometimes, the Theatre also stages plays by others, and these are not all written for deaf actors.

The theatre does not restrict itself to a narrow scope of themes.

It treats subjects such as death, sex, humor, romance and urban life.

“We do both comedies and tragedies. There isn’t any particular image we want to mold,” said Mr. Chan.

Further, sound effects, music, rhythms and dance are always used in the plays.

Mr. Chan said the actors integrate the music into the plays by the aid of light and sound.

“Spotlights, flashes and marks are used to help us.

“The movement of the light illustrates the rhythm. It stops when the music pauses.

“The marks also help remind actors of their positions,” he said.

The procedure for adding sound effects to the plays is also different from other theatres.

Normally, scriptwriters collaborate with music directors and exchange their ideas.

However, the Theatre of the Deaf separates them.

Mr. Chan said that he first completes a script and then finds a music director.

The music director then composes the music after watching a rehearsal of the play.

Since it does not have contracts with music directors, each time the theatre has to employ a new one.

Regarding the obstacles in communicating with the audience, all the actors said that they are insignificant.

Instead of using spoken language, skills like finger-painting and body language are adopted to express their feelings and thoughts.

Finger-painting is a technique used to describe a subject. For example, if an actor wants to tell the audience he is eating, when actually there is no food, he uses his fingers to “paint” a bowl of food and pretends to eat it. This technique is often used by mimes.

With such techniques, the Theatre is able to express poignant as well as simple messages.

While the coordination among actors is not the main problem, the training for them took a little longer in the beginning.

Said Mr. Chan: “It was not due to the quality of the actors, but a lack of professional training for deaf actors.

“So, unlike other registered theatres, our actors have never received any formal training.

“Surely it would take a longer time for them to learn everything, ranging from international gestures to facial expressions and body language.”

He said that as skills are enhanced with time and experience, although they had to spend extra time in previous routine practices, they no longer have to do so.

Said Mr. Chan: “The deaf are just as talented in arts as ordinary people.

“They can also express their ideas and feelings through vivid facial expressions and skilful use of body language.

“It is sad that in Hong Kong, unlike in Western countries, there is no professional training in performing arts for the deaf.”

Mr. Edwin Chan, one of the actors, said that before the establishment of the Theatre, deaf actors were slighted.

“The situation in this field was really bad.

“Now, because of our performance and publicity, other actors are beginning to treat us as equals,” he said.

Mr. Danny Lau, another actor, said that he hoped that their performance would promote a sense of solidarity and co-operation among the deaf.

The different culture of the deaf distinguishes their performance.

Said an audience member, Miss Shan Lee: “Performing arts express one’s outlook on life.

“I am very curious about how they perceive the world.”

Agreed Mr. Chan: “The conceptions of the deaf are different.

“If you want to know them, you have to reach out to them.

“I hope that we can also help people understand the deaf,” said Mr. Chan.

All members shared the view that since joining the theatre, they have become more active and open-minded.

Joining the theatre also improved their social skills.

The theatre has toured many cities, including Perth, Australia, Los Angeles and Osaka.

It is going to work on a new play with the San Francisco Mime Troupe next summer.

“The interchange of ideas can help develop the arts of the deaf a lot.

“I hope that it would become more popular in Hong Kong,” said Mr. Chan.

Instead of using spoken language, the actors deliver their messages through finger-painting, body language and facial expressions. (May Chan)




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