March 25, 2017
Today I made a short presentation on Deaf Performers, comparing the pre-internet issues with the post-internet issues facing Deaf Performers in Theater and Film. The presentation was more focused on film as it was presented during the Rochester Deaf Film Festival activities and was part of an all day presentation process in the RIT Wallace Center located in the RIT ASL and Deaf Studies Community Center (RADSCC).
This presentation touches upon the topic and I will add the power point presentation to this post. In subsequent post in this topic area I will expand more on the PP and explain/discuss my perspectives on the topic. As always, these are my opinions, insights, and thoughts on performance art particularly related to live theater. This and subsequent posts will take note of how multimedia, CGA, and special effects has permeated live performance work since the advent of the internet, social media and other types of hosting sites. There has been a prolific infusion of performance material that contains a wide range of quality in regards to production values, performance, and fluency of delivery.
Two key take always to consider. First, the need for cross-over appeal and ‘hooks’ in today’s digital marketplace access is greater, global in nature, however many people clamoring for the attention of everyone and it’s hard to win out. Second, with these new ways of working and performing in digital/ virtual spaces how does one successfully market themselves so they actually earn income on the sites where they are parking their content and the fees they ask are not contested but accepted by those interested in the creative content being offered for your eyes to enjoy.
Writing Downstream-Aaron Kelstone 
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