Who am I?

Hi! I’m Talleri! My name is pronounced like Valerie, but with a “T.”

As the author of this FixDis blog, I am first and foremost a theatre nerd. Every since I can remember, I have loved watching stories on stage unfold. In the last 15 years or so, I’ve become more and more interested in how disability shows up disability on stage, in movies, on TV and in books. Most often, stories reflect mainstream society’s ideas of disability and difference— which can lack nuance, specificity, intersectionality and complexity.

I am a white, socially-privileged woman with a life-long physical disability. I am an educator, teaching artist, dramaturg and access consultant who spends a lot of my physical time and mental energy thinking about access and inclusion in creative ways. I find it to be an incredibly thrilling and generative way to move through the world. I find myself thinking less about perfection and more about possibilities. On my best days, I allow space for the “What Ifs.” So that’s what this blog is. A series of “what if’s.”

What existing frameworks or concepts contribute to my “fixes”?

The words I use to talk about disability and difference come from the academic tradition of Disability Studies, and align with many aspects of Disability Rights.

For example, the idea that over time, societal understandings of disability have shifted from a Moral framework, to a Charity / Pity framework, to a Medical framework to a Social one is textbook disability studies [LINK]. That said, Disability Studies has been (rightfully) critiqued (by groups like Sins Invalid— LINK) for using a single-issue lens that replicates race and class privilege rather than an intersectional lens that interrogates how disability shows up within existing power structures of oppression.

With all of that in mind, this blog, which shares ideas for “fixing” narratives written by non-disabled writers, is ONE WAY OF MANY to address irresponsible representation of disability— and it is limited in scope. It should be a starting point for discussion, not an ending point or final solution. (See below — my question about advice for others.)

Is what I propose actually intended to be advice for writers, producers, directors, etc?

Yes, and no. Above all, I hope this blog is a FUN TO READ thought experiment. No action required!

That said, I do hope my contributions make you think about disabled characters and stories in a new and exciting ways. I do hope each example reminds you that shifting away from harm and towards responsible representation is DOABLE, and often those shifts are smaller than you may think.

Lastly, I hope that this blog is a starting point for discussion, not an ending point or final solution. (See below — my question about advice for others.)

What advice do I have for creatives interested in responsible representations of disability?

1) Hire disabled writers to write disabled stories

2) Hire disabled creative teams (producers, directors, designers, etc) to lead disabled storytelling

3) Hire disabled actors to play disabled characters

4) Hire disabled administrators and artisans to support disabled-led productions

5) Hiring disabled people is the starting point, not the ending point of responsible representation. Disabled people are still impacted by mainstream tropes and stereotypes about disability, and like so many communities we have our fair share of “unlearning” to do— individually and together.

Where can readers of my work find more resources?

First, know that there is SO MUCH collective wisdom about representations of disability, disabled storytelling, intersectionality and tools. As you begin to explore, look for disabled led theatres, orgs, and creative processes and let them lead the way.

Next, in 2023, I compiled many resources (at the time) within NDT Learns: The National Disability Theatre Handbook [LINK]. The appendix at the end of the document lists several artists, organizations, and groups doing really good work.