Reflecting on the Performance of TitusShakespeare's Titus Andronicus is undoubtedly one of the bard's most gruesome plays, dealing with the realms of civilization and barbarism , and how the two intersect. From being presented as an accomplished leader to dying as a deranged murderer, the main character soon succumbs to his reckless sense of justice and retribution. In Act 3, Scene 2 of this play, four members of the Andronici - Titus, Lavinia, Marcus and young Lucius - are gathered for a light meal, quickly launching into a conversation about Lavinia's inability to express herself easily through verbal or written language. The discussion ends with Titus committing to becoming his daughter's interpreter and translating her gestures so that others will understand ("Titus Andronicus"). As this scene so perfectly encapsulates the play's themes of language, communication, power and the breakdown of these societal characteristics, I thought it would be appropriate to reimagine Titus as a deaf man and deliver the one of his monologues through American Sign Language. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essayAfter her violent sexual assault and brutal mutilation by Tamora's sons Chiron and Demetrius, Lavinia is left without a tongue or hands to express yourself comfortably. opinions and sorrow. Rather than being able to create her own method of communication, the men in the play – Titus and Marcus, notably – impose their preferred solutions on Lavinia. Not only do they encroach on his last shreds of action, but, by objectifying him, they also reduce his status as a human being. This demonstrates Titus's inability to abandon his role as a general on the battlefield, more than willing to delegate specific parts and positions to the people in his life and firmly entrenched in his decisions. The tragedy therefore lies in his failed transition from a resolute commander to a loving father, thus leading to his eventual spiral into his bloody quest for revenge. Given this, the idea of ​​a deaf Titus seemed fitting as a literal representation of his domineering attitude, as the only voice he hears (so to speak) is his own, and he is adamant that his logic and his reasoning are the most solid. While searching for a method to resolve this madness, particularly regarding how Shakespearean English could be translated into ASL, I came across a resource that proved extremely helpful to my writing process. The ASL Shakespeare Project, established in 1999 by four members of Yale University, was started with the aim of providing actors, teachers, creatives, and Shakespeare enthusiasts with guides on how to produce ASL Shakespeare productions (“The Project”). The site includes free downloadable lesson plans and reference videos, all explaining how each facet of Shakespeare's use of language can be expressed through ASL. For example, the use of transformational signs (signs with the same basic hand shape) can mimic Shakespeare's use of rhyme and rhythm, while cultural references (altering language to be more directly accessible to members of the deaf community) elevate ASL Shakespeare beyond just a simple linguistic change. This immerses everyone involved into a deeper level of understanding, subsequently emphasizing the importance of an effective mode of communication in the absence of speech. In my approach to characterizing Titus, I especially wanted to communicate his tenderness.