The documentary about the Deafblind live art experience
1. SCENE ONE
1.1 Standing before a red curtain, two Deafblind women feel each other's hands as they use tactile Auslan. One woman, Michelle, has an oval face and bobbed brown hair just above her shoulders. Heather, the second woman, is taller and has longer brown hair and an angular face. As Michelle speaks to the audience, she signs for Heather.
1.2 Michelle: (Out loud in English)
We're just saying... Heather and I are just saying we don't know if all of the audience have arrived.
1.3 Michelle and Heather lean forward and listen theatrically, then straighten. Michelle also speaks English as they chat in tactile Auslan.
1.4 Michelle: Oh, same! I can't see either.
1.5 (AUDIENCE LAUGHS)
1.6 Michelle: Oh, perhaps... Good idea. Perhaps we need to ask for an interpreter I'll...I'll call it out. Is there an interpreter in the house?
1.7 A dark-haired man in a red shirt, Mark, steps between them. As he signs and speaks English, Heather and Michelle each feel one of his hands.
1.8 Mark: (English)
Hi. Hi. How are you going? It's Mark. Hi.
1.9 Michelle: (English)
Both Heather and I were wondering if the audience has arrived.
1.10 Mark: (English)
Well, I think we might need to get another interpreter. Can we have another interpreter, please?
1.11 A second dark-haired man in a red shirt, Marc, joins them. He does tactile signing for Michelle while Mark works with Heather. Credits in white capitals read, "Jodee Mundy Collaborations Presents".
1.12 Marc: (English)
Hi. Hi.
1.13 Mark: (English)
So, yes, the audience are here. The show... The show's started. OK, we're ready. Yep. They're waiting.
2. SCENE TWO
2.1 In a white room, a woman with wavy dark blonde hair is interviewed. Text: "Jodee Mundy OAM, Artistic Director."
2.2 Jodee: (Interview)
There's really no other art project in Australia for Michelle and Heather or any other Deafblind people, so we are, yeah, the first. We're one big guinea pig. (LAUGHS)
And it's really important. Michelle and Heather are creatives and they need to express themselves, and being Deafblind, you'd be the most marginalised people in this country, so of all the people that need a voice, it's them. And a lot of people need to give a shit and listen.
3. SCENE THREE
3.1 On a black screen, thin white letters leaning at various angles form the title 'Imagined Touch'. The second letter 'I' and one side of the 'U' lengthen and connect.
3.2 Dark blurs against a stark white background sharpen to become Heather and Michelle.
3.3 Audio Description: (English)
Out-of-focus white. Two figures are seen in the distance. In a large white space, Heather and Michelle, two women, middle-aged, stand side by side. Heather, on the left, is tall with brown hair and bangs. Michelle is shorter with a light brown bob. Both wear elegant white tops and black trousers. Heather's shoes are black. Michelle's are silver. Michelle is feeling Heather's sign. Michelle speaks.
3.4 Michelle: (English)
We are both Deafblind. Our journeys are very different. Heather, she was born Deaf. She used to see. I was born blind and I used to hear. We want to share the truths about being Deafblind.
4. SCENE FOUR
4.1 Waiting on a street, Jodee gives a double thumbs-up to Michelle and Heather as they arrive in a taxi. Jodee's interview in an office is intercut with the action in various locations.
4.2 Jodee: (English)
Yeah! Great.
4.3 Jodee: (Interview)
2011, Heather and Michelle approached me and said, "We'd like you to direct us and make a show about deafblindness." And, you know, because there was no-one else really making work at that time and there was nowhere they could really go to get workshops, it really was a community cultural development project. It started out as a response to lack of access.
4.4 As Michelle pays the taxi driver, Heather chats with a woman on the footpath, and Jodee holds a crumpled letter up to the camera.
4.5 Jodee: (English)
This is her letter, how they got here. "Hi. I'm Deafblind. Please take me into the first carriage. I'll get off at Caulfield Station, I will wait till I meet my Deafblind friend. Bring her to me and take me to a taxi."
4.6 Jodee takes the letter back to Michelle in the taxi. At a workshop, Michelle and Heather sit with tactile Auslan interpreters. An Auslan interpreter also translates as Jodee speaks. Text: "2013."
4.7 Jodee: (English)
So, this is Jodee speaking. Thank you, Michelle and Heather, for making it here.
4.8 Jodee: (Interview)
It started out as something very, very small.
4.9 Two sets of small metal canisters are arranged on a table. Text: "Sensory Workshop." Under the guide of a blonde woman, Charlie, Heather and Michelle smell each canister in turn.
4.10 Charlie: (English)
Next smell.
4.11 Jodee: (Interview)
30 workshops of, like, theatre and storytelling and music and piano and what the world would feel like and lots of dreaming.
4.12 Charlie sits with Michelle, Heather and the interpreters. Text: "Charlie Ahrens, Sensory Designer. Michelle Stevens, Performer and Co-Creator." As Michelle's response plays, footage shows Jodee sprinkling a substance on Michelle's hands, jumping on the floor before her and waving a leafy sprig in front of Michelle's face.
4.13 Charlie: (English)
Were you more aware of the smells around you?
4.14 Michelle: (English)
I use smells to actually help me with where I'm going, like, for instance, when I'm going to the Link, when I smell that awful smell from that shop, Subway, down opposite, that tells me that I'm heading towards the corner of Swanston and Flinders Lane, so the smells I'm smelling becomes, in a sense, unconscious.
4.15 Text: "Heather Lawson, Performer and Co-Creator." Jodee interprets as Heather signs Auslan. As Heather's response plays, footage shows Heather smelling a canister and chatting with her interpreter.
4.16 Jodee: (English)
I can smell a $2 shop or a Reject Shop, and I'll ask my friend, "Is that a $2 shop?" And they'll say, "Yep." And I was right. It's like that there's been a lot of paper boxes and cardboard boxes and it's sort of musty.
4.17 Text: "Snuff Puppets Workshop". In a large hall, Michelle and Heather examine huge puppets that are human-sized or larger. A feathery pink creature has long plumes. A bumpy green crocodile with pointed teeth flaps its jaws. Sitting on the floor, Heather worms into a knobbly red-pink oblong. Michelle strokes the head of a large cow puppet.
4.18 Michelle: (Interview)
As a child, when I used to go out shopping with my mum and I think I used to absolutely drive her to distraction all the time that I wanted to touch things in the shop. And, well, if I don't touch things, I don't know what things are like. "Oh, you'll just have to imagine it," or something like that.
4.19 A man wears a tight-fitting balaclava over his head and face. Michelle feels it. Later, they feel huge protruding facial features that are stuck to the balaclava, including bulbous eyes, a gaping red mouth with a pendulous lower jaw, and teardrop-shaped ears. Later, the long rounded nose sticks from the top of his head. Michelle removes the mouth and examines it.
4.20 Man: (English)
It's a velcro skin.
4.22 Michelle: (English)
Oh, I can literally do that too.
4.23 (WOMEN LAUGH)
4.24 Woman: (English)
You've become a unicorn.
4.25 Man: (English)
Yeah.
4.26 Michelle: (English)
Don't ask me to do your operations.
4.27 Taxidermied animal heads stick from a wall. Heather strokes the furry neck of a large deer, then chats with Jodee. Jodee guides Heather's hands to a fluffy buffalo head. Heather recoils, questions Jodee, then feels it again.
4.28 Woman: (English)
Are they more rare species or...?
4.29 Man: (English)
No.
4.30 Jodee: (Interview)
And I chose to do this because I come from that community, so my whole family are Deaf except me. So, it's my first language. Sign is my first language.
5. SCENE FIVE
5.1 Text: "Mime Workshop." In an office, their backs pressed together, Jodee and Heather follow each other's movements as they lean forward and back. Jodee taps her leg. Heather moves that foot. Later, Heather feels Jodee's legs then imitates her stance. Jodee moves her feet sideways, Heather copies her. As Heather practices the movements, Jodee does tactile Auslan on her hands. Swaying, Heather leans on a white cane that's adorned with Groucho Marx glasses.
5.2 Jodee is interviewed in a vacant industrial brick workshop of Carriageworks.
5.3 Jodee: (Interview)
At the beginning, I did say to Heather and Michelle, "What do we want? What is our goal with this work?" And they said, "We want to show the truth. We want to show audiences what it means to be Deafblind. We want audiences to see us lost. We want audiences to understand how it feels to be isolated, frustrated, but also to show the beauty of the world that we live in, that we can use smell and touch and there's an intimacy that many people don't think about." So, for me, that was the goal and that was very clear and I've made sure that we've stuck to that like a...like a promise.
5.4 Heather is huddled inside a plastic pipe, with one hand on its clear wall. As people rapidly tap the top, Heather motions downwards with her free hand. Later, she moves the curved clear plastic above her head. Huddled in the pipe, her head bowed, Michelle keeps her hands on the pipe walls as people tap the outside.
5.5 Heather: (English)
Rain.
5.6 Woman: (English)
It's like rain?
5.7 Heather: (English)
Rain.
5.8 Jodee: (Interview)
But it's also about how artists have been able to work with Deafblind people as experts and how that's pushed our practice.
5.9 Michelle: (English)
Yes, I can feel you.
5.10 A woman holds a bundle of goggles made from string and curved white foam. Michelle is handed goggles. She puts them over her glasses.
5.11 Jenny: (English)
I've got here the little prototype goggles that I've made for everybody, which are the simulation... Deafblind simulation goggles. The idea is that when... You can still see. Your eyes are open, but you can only see white and you have little, um... And you can still make out shadow and...
5.12 Michelle: (English)
Oh, I can see. I can see.
5.13 (ALL LAUGH)
5.14 Text: "Jenny Hector, Set, Light and Visual Designer." Jenny is interviewed at Carriageworks. She has shoulder-length blonde hair and wears a blue dress.
5.15 Jenny: (English)
The goggles came from having the opportunity to ask somebody what it was like to go blind.
5.16 Wearing the goggles, crew members edge uncertainly along the back row of theatre seats, feeling their way. Jodee takes off her goggles and holds them up to the camera lens.
5.17 Woman: (English)
My temptation is to... I wanna get on the ground.
5.18 Jodie: (English)
This is a prototype, so it looks like mist when you're in it. See? It's totally white, which is actually how the women see the world - not black like a lot of people believe.
5.19 A ball is thrown at a man wearing goggles. He tries to cup his hands under it.
5.20 Man: (English)
I have no idea where that's coming from.
5.21 The cast and crew stand together, some still wearing goggles. Facing an interpreter, Heather does Auslan.
5.22 Interpreter: (English)
We don't want people to come out too scared or don't want to sort of oppress them too much, I guess, in the situation. We want to give them a taste of how it feels and we want them just to experience that.
5.23 Jodee: (English)
What we're trying to do is just have the audience not always be comfortable. That we want them at the beginning to go through a journey in the museum that was kind of like a taste of what you went through, so we don't want to make it too easy for them.
5.24 Text: "Testing the immersive experience, Frankston Art Centre." Wearing goggles, a barefoot woman tries to follow the paths made by different surfaces. She moves uncertainly, her hands out before her. Later, she turns toward a bright light. Jodee spins her.
5.25 Woman: (English)
Yeah, you're right - not make them feel oppressed, but safe at the same time.
5.26 Jodee: (English)
Safe, but also uncomfortable.
5.27 Jodee runs a woman's hand down a wall to a chair. The woman feels the chair then sits. Jodee guides another woman's hand down a wall to an empty chair. The woman feels the chair, then sits. Jodee puts her hands on the woman's knees.
5.28 Jodee: (Interview)
After 30 workshops of different disciplines and art forms, that then evolved into three-week creative development.
5.29 Text: "2014." In a dark hall, a grand piano his wheeled past a room made of translucent sheeting. Strong lights outside the far wall of the room silhouette Heather, Michelle, Jodee and interpreters standing inside. They all stay still as a strong stage light is wheeled around the room.
5.30 Woman: (English)
Yeah, I can feel it from Heather. Go to the other side. Sorry.
5.31 Jodee: (English)
The idea of this is kind of drawing on Heather's comment about the cars, being able to see the cars and the headlights.
5.32 Woman: (English)
I do feel like I'm in a David Lynch film.
6. SCENE SIX
6.1 In a theatre, goggled audience members sit in the front row, which is level to the stage area. The lights fade, leaving them in darkness. Onstage, Heather follows a strong light being shone on her bare legs. She sits in a spot-lit chair.
6.2 Jodee: (Interview)
The work's aim eventually started to evolve into a highly experimental work that was pushing the boundaries around tactile communication...
6.3 At the back of the stage, a cover is passed back and forth across a bright light. More crew members flap large sheets of card at the light. As Michelle plays the piano, audience members rest their hands on its shiny black surface. Their eyes are closed.
6.4 Interpreter: (English)
Oh, shit. It's raining again.
6.5 Jodee: (Interview)
..how to use light and sound, how audiences feel theatre as opposed to see it. Audiences experience not a simulation, but a metaphor of losing one's sight. A lot of innovation has come from the work.
7. SCENE SEVEN
7.1 In a sunny hall, an interpreter speaks as Jodee and Michelle use tactile Auslan.
7.2 Interpreter: (English)
Can you play a tiny bit?
7.3 Michelle: (English)
'Clair de Lune'. Mm.
7.4 Interpreter: (English)
Just a small part.
7.5 Michelle: (English)
Yeah, I can play up until where I've learnt it.
7.6 Interpreter: (English)
OK, cool.
7.7 As Michelle plays piano, people follow on sheet music. Jodee reaches out to her. Michelle stops playing and takes both of Jodee's hands. Michelle's interviewed in a yellow room.
7.8 Michelle: (Interview)
When I first lost my hearing, it was a very, very depressing time 'cause I really thought, "OK, piano and I, OK, that's it, we're finished." That really was, I suppose, one of the darkest times of my life. Music sounds very distorted. Although I have an old cochlear implant, I'm fortunate than most people because growing up to music and my brain understanding music, I have a little bit more awareness of what music does than if I was born Deaf and I never, never heard music before.
7.9 Michelle plays Debussy's 'Clair de Lune'. Crew members hold sheet music. Later, Michelle sits by the piano.
7.10 Michelle: (English)
Look, I'm a regular braille reader, but the code of reading braille as, let's say, language, English or whatever, to read the braille in music is a very different code, although you're using the same dots. For instance, D in braille is C on the piano, if that makes any sense.
7.11 Woman: (English)
Yeah.
7.12 Sitting at the piano, Michelle holds a sheet of braille against her chest with her right hand as she plays with her left hand. People are silhouetted against a nearby white curtain. Heather reads braille. Text: "2015." At a meeting in a hall, Heather and Michelle sit with interpreters. Some people hold scripts printed in English.
7.13 Jodee: (English)
I have a question. We have three languages here. We have braille, we have Auslan and we have English. So, what is the best way to read this script? Would you prefer that you read braille and we mix the sign? Can you tell me what would be best? 'Cause I've never done this before.
8. SCENE EIGHT
8.1 Jodee is interviewed in an office.
8.2 Jodee: (Interview)
We had our last stage of development at Arts House, part of CultureLAB, and it was the first time that this work was able to go into a really large space.
8.3 In the hall, a man wearing headphones sits at a sound desk at the back of a flat white stage area. A pale curtain is strung behind him. Crew string ropes, move a ladder, and arrange stools along the back of the stage. Michelle and Heather sit with interpreters. Sitting nearby, a woman holds up a folder where the interpreter can see it.
8.4 Jodee: (English)
So, this is your quote, Michelle. "When I was at school, living an institutionalised life, I used to, at any opportunity, try to escape to find a practice room to have a piano. It's a sense of floating. It's a sense of belonging. Meanwhile, Heather's still standing there. I feel the music, but I can only do this for so long. To be honest with you, I'm just waiting - waiting for the music to stop. Being Deafblind, we wait a lot."
8.5 Jenny stands before a closed red stage curtain. The edge of white flooring is visible under the curtain. Heather and Michelle stand with their interpreters.
8.6 Jenny: (English)
I'd like to introduce you to the space. You have approximately four steps of performance area in front of the audience until you will hit the red curtain.
8.7 Jenny is interviewed in Carriageworks.
8.8 Jenny: (Interview)
How I came up with the design was actually a response that I wasn't aware of in myself to Heather and Michelle. A lot of people go, "Oh, my goodness, being Deafblind, that is so scary," and...and, yes, it is, but the thing for me that is actually the most frightening is not knowing myself in relation to space.
8.9 As Michelle and Heather stand with interpreters, other crew members draw the stage layout on their backs. Jodee and others watch from behind a white line separating the stage area from the chairs and desks.
8.10 Woman: (English)
So, we've got Michelle standing here. Heather standing here. We've got the audience here.
8.11 A man with a long white beard is interviewed in Carriageworks. Text: "Dennis Witcombe, Deafblind Communications Consultant." Onstage, Heather questions Jodee in Auslan. As Jodee draws on Heather's back, Marc interprets for Heather.
8.12 Dennis: (Interview)
Social-haptic communication, it's a way of passing on simple social messages. Social haptics has different uses. I can map out a space and let the person know where they're standing within that space. Once I place them on the map, then I can draw out or graph out where other elements in the environment are and then it makes sense because they know where they're standing, and so to their right and slightly forward are the chairs and tables. If I don't put them onto that map, then these touches onto the back don't have any relation to where they are. They have no idea where that is.
9. SCENE NINE
9.1 A woman with dark blonde wavy hair is interviewed near theatre seats. Text: "Madeleine Flynn, Composer, Sound Designer & Musical Director." Michelle taps a table like piano keys. On the stage, Michelle sits at the piano with Madeleine as Dennis interprets.
9.2 Madeleine: (English)
Michelle is, as we know, a beautiful piano player, and now she can't hear what she's playing. She can feel what she's playing. One thing we've been really working on is, what does it mean for Michelle to use dynamics? She really wants to play this piece, 'Clair de Lune' by Debussy. It has a big dynamic range and that's something that Michelle can't hear. How does she understand that? How do I help facilitate that understanding in her? So, we've done lots of things with Dennis teaching us about social haptics on Michelle's back.
9.3 As Michelle rehearses in another room, Madeleine touches her shoulder.
9.4 Dennis: (Interview)
I don't need to interrupt Michelle's piano playing, have her hands come over to my hands, do tactile sign, pass on a simple message and then have her find where she's up to on the piano. Similarly with Heather, if she's reading braille, to interrupt that and then for Heather to then find her place within the script in braille is quite a difficult thing.
10. SCENE TEN
10.1 On a wall, a highlighted sign reads, "Michelle cannot see or hear you enter the room. Please touch Michelle's left arm to let her know you're there and speak clearly into her left ear." Michelle sits in a hospital room. Later, two medics help her into a wheelchair. Michelle wears a brace on her lower left leg. Michelle and Jodee chat one-handed in the reception area and as Jodee steers the chair down a corridor.
10.2 Michelle: (Interview)
I misinterpreted the sign that one of our volunteers gave and I thought I was going on a travelator, but I didn't realise it was an escalator and I took a step forward thinking I was going on a travelator, but it was an escalator and I went sailing down a whole flight of escalators. It was a really scary experience. I actually broke the tibia under the kneecap. It has taken four weeks to get to this level. I'm starting to hop around on a frame.
10.3 Interviewed in a lounge area, Heather signs in Auslan.
10.4 Interpreter (English)
I'm worried that Michelle might miss out this year and I'm hoping that the production will still be on.
11. SCENE ELEVEN
11.1 Wearing a scarf and beanie, Jodee is interviewed on a street.
11.2 Jodie: (English)
The show is now a month away, so, yeah, we've just got to make sure, um, she's having her time to play piano because she's been in rehab for so long. So, yeah, it's good. It's an emotional time.
11.3 Michelle plays a melodic tune on the grand piano, which is positioned at one end of the stage, in front of the white floor. Across the room, Heather works with interpreters. Stage managers mark off sections of the white stage with slightly raised white strips. White curtains fill the back and sides of the stage. A red curtain divides it from the three long audience benches. Three raised strips run along the back of the stage. Heather hugs an interpreter.
12. SCENE TWELVE
12.1 Cast and crew collect security cards on lanyards. Jodee is interviewed at Carriageworks. Text: "2017" The Carriageworks entrance features a Sydney Festival sign. On a foyer screen advertising for 'Imagined Touch' features a photo of audience members wearing goggles and headsets.
12.1 Jodee: (Interview)
I never imagined we'd end up at Sydney Festival when we first started. We couldn't even get a room to rehearse in in the City of Melbourne, you know. We were in the church 'cause nowhere else would take us. We were kind of the 'too hard' basket.
12.2 In a backstage area, a chocolate cake is decorated with "Happy birthday Michelle" in white icing. Smiling, Michelle sits with an interpreter. Jodee and the cast and crew gather around them. Heather comes over with Dennis.
12.3 Jodee: (English)
And Michelle is the birthday girl, so why don't we all come really close and put our hands on you, Michelle. All of us. Just wherever you can find. But she still needs her hands free. And we're going to sing 'Happy Birthday', alright? Ready? And...
12.4 All: (Sing)
Happy birthday to you
Happy birthday to you
Happy birthday, dear Michelle
Happy birthday to you.
12.5 They say 'Hooray' in English and Auslan, waggling their hands. Michelle wears a huge smile.
12.6 Jodee: (English)
Hip hip!
12.7 All: (English)
Hooray!
12.8 Jodie: (English)
Hip hip!
12.9 All: (English)
Hooray!
12.10 Jodie: (English)
Hip hip!
12.11 All: (English)
Hooray!
12.12 Michelle: (English)
Why was she born so beautiful?
12.13 (ALL LAUGH)
12.14 Woman: (English and Auslan)
Why was she born at all?
12.15 Jodie: (English)
So, we have a cake for you.
12.16 As Michelle sits eating cake, Jodee hugs her from behind. Looking close to tears, Michelle puts down her spoon and signs one-handed.
12.17 Michelle: (English)
Usually, I'm at home on my own.
12.18 Michelle signs silently. Jodee hugs her warmly from behind, pressing her chin into Michelle's shoulder. Nearby, Mark crosses to Heather, lightly touches her leg, then does tactile Auslan, including brushing his fingers on his cheeks. Michelle picks up her spoon again.
12.19 Michelle: (English)
We've got a show to do, ladies and gentlemen.
12.20 Michelle and Heather have their make-up done in a dressing room.
12.21 Michelle: (English)
Opening night, well, ready or not, as the old saying goes. I think the preview went OK. We're just sort of hoping that everything just goes smooth.
12.22 Wearing a stylish black top and an orange and white scarf, Michelle smiles as she steered through a door in her wheelchair.
12.23 Michelle: (English)
When people say, "Break a leg!" I says, "I wish people wouldn't keep saying that!"
12.24 On the stage, the cast and crew warm up. Several interpreters are clad in red. In a rehearsal warm-up, people work in pairs, one standing behind the other. Their outstretched arms touching, the one behind imitates the other as they move around the stage.
12.25 Jodee: (Interview)
What joins everyone is touch and this work really does ask, "Which of the senses are most important?" And we believe it's human touch.
12.26 As Jodee works with Michelle, Dennis does hand movements on Michelle's back.
12.27 Jodee: (English)
Mouth open. Stretch. And shrink. And stretch. Beautiful. We're ready to start.
12.28 Michelle: (English)
OK.
12.29 A stage manager wears a headset. The audience files into the theatre and take their positions on the three long tiered benches.
12.30 Woman: (English)
Everyone in starting positions, please.
13. SCENE THIRTEEN
13.1 In the dark theatre, Heather and Michelle perform in a spotlight in front of a the red curtain. There's a chair behind Michelle. As Heather signs, Michelle speaks.
13.2 Michelle: (English)
Oh, it just feels like we've been waiting for ages and ages. No idea if the audience has arrived. Let's have a look.
13.3 They peer theatrically into the audience. Bathed in red light, Jodee and Madeleine smile as they watch from a desk.
13.4 (AUDIENCE LAUGHS)
13.5 Clad in red, the interpreters stand outside the spotlight, blending in with the red curtain. Heather wears googles over one ear and headphones over one eye. She positions Michelle's head. Michelle wears the goggles and headphones correctly.
13.6 Heather signs.
13.7 Mark: (English)
I think we need to show the audience the right way to do this. That's better. That's the right way.
13.8 Later, as Michelle speaks, she signs. Heather holds one of her hands.
13.9 Michelle: (English)
If you're feeling worried, please put your hand up. Remember, every step you take, your confidence will grow gradually and gradually. We encourage you to keep trying. Don't give up, because we in the Deafblind community can't give up. Are you ready to come with us?
14. SCENE FOURTEEN
14.1 The audience is bathed in red light. Wearing their headphones, the audience members slip plastic goggles over their eyes. The goggle lenses are smoky white. The light fades to black, then returns, dim and pale.
14.2 An eerie soundscape plays. Interpreters wearing white hooded coveralls each take an audience member's hand, help them to their feet and guide them onto the stage. They return for more participants. People look tense as they're led forward. Walking backwards, Heather guides a woman.
14.3 Seen through goggles, indistinct dark figures move uncertainly against a pale background that's blurred with shadow. On stage, a man stands still, one hand clasping the other. Hands feeling in front of her, a woman moves hesitantly past him, then another woman. Heather leads two women by the hand onto the stage. The audience stand on the white stage. Huge spotlights illuminate the white curtains at the back and sides. The stage is marked out with slightly raised lines and a raised square in the middle.
15. SCENE FIFTEEN
15.1 Participants are guided to the stools lining the edges of the stage. Later, as rain sounds fade up into the eerie soundscape, diagonal bars of light streak down the white curtains surrounding the stage. The glowing stylised rain is blurred and shadowed through the goggles. The performers sit in the middle of the stage. Marc lightly touches Michelle's arm. She starts to sign.
15.2 Michelle: (English and Auslan)
Does this mean that, in my life, I'll have to be alone? No-one. No-one's with me. There's no other people waiting for this bloody bus. Is this what my life is going to be like? Waiting forever and more.
15.3 Later, Heather trudges inside a circle of interpreters who sit with their backs to her. She bumps into one, changes direction, then bumps into another. Later, she holds a white cane and signs. Goggles only show vague movement in a small patch of blurred lightness. Participants sit solemn-faced.
15.4 Man: (English)
"This is Heather speaking. It's been five years now and I've barely left home. I just want to lie in bed. There are people who keep coming to my front door, telling me that I need to learn how to use a cane. They are saying that a cane will help me to cross the road, that it'll help me to go to the shops, catch a train, see friends, have a beer. A cane. One of those white canes? Everyone will look at me, staring as I walk past."
16. SCENE SIXTEEN
16.1 The discordant soundscape continues. Kneeling before participants, interpreters do tactile Auslan on their palms, then hand them a sheet of Braille. Other participants sit waiting. Goggles show a white mist blurring dark figures sitting against light backgrounds. An interpreter brushes and taps different areas of a participant's outstretched hand. After the interpreter moves to the next person, the hand slowly closes, opens, then lowers. An interpreter does tactile Auslan then holds a Braille sheet against a participant's hand until he takes it. Participants feel the complex arrangement of raised dots covering the thick paper.
16.2 An interpreter lifts a participant's hands. The participant stands and is led onto the stage. The interpreter raises one hand high. More participants are guided onto the stage. An interpreter holds a woman's hand above her head. She twirls as if dancing. A teenage boy hesitantly pats the face and shoulders of a grey-haired woman, then drops his hands. She moves her hands down his arms, chest, head and neck. A couple dance. An interpreter leads a man by the hand. A woman gripping the man's other hand follows uncertainly. An interpreter holding a man's arm breaks into a run. They jog around the edge of the stage. Five people holding hands try to form a circle. A few people are left alone, without an interpreter. Some take tentative steps. An interpreter guides a woman from the stage to the audience benches, and puts her hand on a free space. Participants sit with their hands on their knees.
17. SCENE SEVENTEEN
17.1 Calm, pleasant piano music plays. No longer wearing coveralls, interpreters place their hands on participants' shoulders, then help remove their goggles and headphones.
17.2 As Michelle plays, she leans her head back and is silhouetted against the closed red curtain. She leans forward, back into the spotlight. Heather stands alone with one hand on the piano. Bathed in red light, she almost blends into the curtain. Their eyes fixed on the stage, audience members wear slight smiles. Heather pushes the red curtain open, revealing the pitch-black stage. Projected onto the back curtain, blue text reads, "This is Michelle speaking. The piano and I have such a close personal relationship. It's a sense of belonging."
17.3 In her stylish white top and black trousers, Heather once again stands with her hand on the piano. The back curtain turns white, the dark stage is bathed in blue. As Heather walks across the stage, silhouetted against the curtain, her words appear as black text. The audience watches pensively. Her arms spread, Heather moves freely around the stage.
17.4 Interpreter: (English)
"This is Heather speaking. I feel the music, but I can only do this so long. To be honest with you, I'm just waiting. Being Deafblind, we wait a lot. The sense of being underwater... the containment, the pressure... that I intimately know."
17.5 Watching from darkness, Jodee wipes her eyes. At the back of the stage, the white curtain is gone, revealing rows of empty chairs and other furniture. Heather walks into a spotlight and sits in one of the chairs. The audience watches intently. Surrounded by darkness, Heather sits in the now smaller, brighter spotlight.
17.6 Interpreter: (English)
"It's about the occupying of the space. Being there. She's there. I'm here. You are all over there.
17.7 The spotlight slowly fades, plunging Heather into darkness. The piano plays a long final note.
18. SCENE EIGHTEEN
18.1 The audience cheers and claps. Standing in a line across the stage, interpreters clad in red or white hold hands as they bow. Heather and Michelle are at the end of the line. Cradling bouquets, Michelle and Heather touch their chins - Auslan for thank you.
18.2 With interpreters, they chat with fans.
18.3 In a rehearsal, the cast and crew stand in a long line behind Michelle. They run their hands down the shoulders and arms of the person in front. Arms around each other, they stand in a tight circle.
18.4 Jodee: (Interview)
What's next for them? You know, they're artists, they can find those pathways, but they've got a family with us. We've essentially been their training.
18.5 Standing in two lines, the cast and crew make arches with their hands. They move down the tunnel in pairs. A woman steers Michelle's chair.
18.6 Michelle: (Sings)
Oh, oranges and lemons...
18.7 In a hall, Michelle looks emotional. Dennis grips her hands. Jodee strokes her arm. In Carriageworks, Michelle signs during a meeting.
18.8 Jodee: (Interview)
We have shared what it means to be in a workplace. We have shown them workplace culture. We work as a team and I'm really afraid that, you know, they've had such a high and the crash. I mean, we all get post-show blues, but I go on to another show. I'm very anxious about that.
19. SCENE NINETEEN
19.1 In the dressing room, the cast and crew hold red cups. As Jodee talks, Mark tucks his cup in his elbow and signs for Heather. Standing in a circle around Michelle, they all hold their cups together in the centre.
19.2 Jodee: (English)
We did it!
19.3 (ALL CHEER)
19.4 Jodee: (English)
We did it. Congratulations. Let's all of us...
19.5 All: (English)
Cheers!
19.6 Jodee: (English)
Congratulations.
19.7 Her face full of emotion, Michelle signs. Jodee keeps a hand on her shoulder.
19.8 Interpreter: (English)
Thank you for everything, and the wonderful com guides, thank you. It's been wonderful. And, Jodee, you're a very special person.
19.9 As Michelle fights back tears, Jodee strokes her shoulder and hair, then hugs her. Michelle then signs as she speaks.
19.10 Michelle: (English and Auslan)
Let's rage.
19.11 (CHEERING AND LAUGHTER)
19.12 Jodee does tactile Auslan with Michelle.
19.13 Jodee: (English and Auslan)
Party, party, party!
19.14 Michelle: (Auslan and English)
We can...we... we can get blind drunk.
19.15 As everyone laughs, Jodee waggles her hand against Michelle's palm.
20. SCENE TWENTY
20.1 At a night festival in a park, they drink at a table. Jodee stands behind Michelle's chair. Holding Michelle's hands, Jodee moves her arms as she dances. Later, on the dance floor, Heather drinks and dances with Jodee. They hug warmly.
20.2 Jodee: (Interview)
The fact that this story has emerged out of, you know, intense isolation, which is what a lot of Deafblind people go through, I think that's why audiences are so moved by it.
21. SCENE TWENTY-ONE
21.1 White text on a black screen reads, "Imagined Touch is nominated for a Green Room Award for Innovation in Experiential Theatre."
21.2 Sitting together before the awards start, Heather puts her champagne glass against Michelle's free hand, then touches Michelle's cup and they tap their drinks together. Nearby, Jodee hugs a woman. They're all dressed up.
21.3 During the ceremony, Michelle and Heather sit in the front row front with Jodee, Dennis and Marc.
21.4 Presenter: (English)
Welcome, everyone. This, as you now know, is the 34th annual Green Room Awards.
21.5 Later, Dennis and Marc interpret for Heather and Michelle.
21.6 Presenter: (English)
Our next award is for Contemporary & Experimental Performance Award for Innovation in Experiential Performance, sponsored by the Theatre Network, Australia. And the award goes to Jodee Mundy...
21.7 (LOUD CHEERING AND APPLAUSE)
21.8 As the audience bursts into cheers, Heather remains blank-faced until Dennis finishes interpreting. Heather's jaw drops. She leans over and hugs Michelle.
21.9 Onstage, as Michelle gives a speech, Dennis interprets for Heather. Jodee smiles.
21.10 Michelle: (English)
I just want to say that this is the beginning for artists with deafblindness or disabilities.
21.11 Marc interprets for Michelle as Heather gives a speech in Auslan.
21.12 Dennis: (English)
It's been five years, this journey, and I'm so, so proud and I'm very proud of 'Imagined Touch', so thank you, and thank you to the Green Room Awards. Thank you.
21.13 As the audience cheers and applauds loudly, Dennis waggles both hands for Heather.
21.14 Later in the foyer, Jodee holds out the trophy for Michelle and Heather to feel. The trophy is a black cylinder. At the top front, a flat angled oval section is engraved with text. Later, Dennis and Marc interpret for Jodee.
21.15 Michelle: (English)
Yay. Oh. What's the... what's the plaque there? What the plaque? Award. Wow.
21.16 Jodie: (English)
It's black and it says, "Innovation in Experiential Performance - Imagined Touch."
21.17 Jodee signs to Heather and Dennis.
21.18 Dennis: (English)
Are we gonna get a photo?
21.19 Jodee: (English)
Should we get a photo? Yes? Beautiful speech.
21.20 Later, they all pose with the trophy before a Green Room Awards media wall. Michelle rests her head on Heather's shoulder.
21.21 Jodee: (English)
There's always a lot of cameras.
21.22 Michelle: (English)
Oh, wow!
21.23 Jodee: (English)
Yeah.
21.24 Holding the trophy, Jodee shakes her fist.
21.25 Jodee: (English)
Yay! (LAUGHS)
22. SCENE TWENTY-TWO
22.1 Gathered outside Melbourne's Comedy Theatre, the group wave across the road at the camera, then dance. White text reads, "In 2018, Imagined Touch presented its last season as part of the Spill Festival at the Barbican Centre in London. Heather, Michelle and Jodee remain close friends." Dancing, Jodee takes Heather's hand and leads her away with Dennis. Holding Marc's arm, Michelle follows with her walking stick and Seeing Eye dog. Fade to black.
23. SCENE TWENTY-THREE
23.1 Title - "Imagined Touch."
23.2 Credits: "Jodee Mundy Collaborations presents.
23.4 Written and directed by Sofya Gollan. Directed and produced by Jodee Mundy OAM.
23.5 Featuring Heather Lawson, Michelle Stevens, Logan (Assisted Seeing Eye Dog). Performers and Tactile Interpreters - Mark Sandon, Marc Ethan. 23.6 Director of Photography - Tom Chapman. Editor - Danielle Boesenberg. Composers - Madeleine Flynn and Tim Humphrey. Sound Designers - Andrew McGrath & Erin McKimm (Sound Waves)
23.7 Dedicated to Nicholas, Scout and Evie Austin. Auspiced in partnership with Auspicious Arts Projects, Australian Cultural Fund. Documentary funding generously provided by Able Australia, Bensen Family Foundation, Expression Australia, Arts Access Victoria.
23.8 This project is supported by the City of Melbourne Arts Grants. 'Imagined Touch' is supported by the Australian Government through the Australia Council, its arts funding and advisory body.
23.9 Soundfirm Post Production, Soundwaves.
23.11 Copyright 2021, Jodee Mundy Collaborations.
THE END
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Imagined Touch
