Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 96

the box” in a manner that reflects his personality and identity. Anyone who has studied improv
understands that there are few restrictions on the form. A general agreement among improv
intellectuals and practitioners is the “Yes, and” rule. Performers are expected to always “agree”
with their fellow improvers, and then “expand” the scene by introducing a connected response to
what has just transpired (Halpern et al., 1994). These create situations where in-order to produce
“successful” scenes improvers are forced to buy-into each other. Performers with ASD may
struggle with this concept, and we have seen it occur more than once. However, by focusing on
this one and only rule in improv performers are empowered to be themselves while eventually
through practice buying into basic sociobehavioral contracts. There are no specific right or
wrong behavioral responses to be learned. Instead there is just listening and responding with
agreement. Ultimately, we are all human beings.
Improv is a great device for creating an inclusive environment in theater, however, how
does RRTC deal with artists who are more severe on the spectrum? One important note about
RRTC is that it is a reciprocity based organization. There are probably more effective means of
therapeutic care than theater (i.e. applied behavioral analysis). This is in part why we consider
ourselves artistic-minded. We have no specific interest in widening the field of therapeutic care
for those with ASD. This organization is about providing equal opportunities for artists with
ASD of varying severity to participate in theater. This requires that we keep in mind constructive
means of communicating with more severely affected artists. Exercises similar to the
aforementioned organizations that enable benefits in social and communication skills are helpful.
Stronger capacities for communication will aid in collaboration between artists, but it also
necessitates a willingness to create theater by the artists with ASD. Doors will be open to even
the most severely affected performers so long as they themselves chose to make theater.
Conclusions and Future Study
As the scientific world continues to study ASD, theater practitioners will learn more
effective ways of communicating with and involving the ASD community in theater. There are
already movements within the the theater community to create Autism-friendly shows, and the
steady growth of organizations using theater to include those with ASD is promising. Shows like
Sesame Street 6 are introducing to a wide range of audiences wonderful portraits of life as a
person with ASD. However, there is still room for growth. As it stands, very few organizations
and companies specifically emphasize recognizing the voice of those with ASD. It is a disorder
that affects many people, and to have their experience vastly marginalized or unacknowledged is
unacceptable. Hopefully this research encourages theater practitioners to take actions to include
artists with ASD on a more consistent basis. Everyone’s experience is different, and elevating
these differences will reduce generalizations and increase empathy towards their community.
Further study includes understanding what dictates “willingness” in the most severe cases
of ASD. How does their exclusion from theater affect the art? How does dramatic literature
portray ASD? Would non-conventional theater methods like Viewpoints be more effective in
inclusive based rehearsals? What kind of theater exercises are necessary, and to what extent are
they successful? Lastly, what steps must theater practitioners take to dissolve boundaries
between theater and the ASD community?
6
A television series.