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Acknowledgments Writing, for me, is another way of performing and no performance happens on its own. My thanks to many colleagues, including Ann Axtmann, Byung Ein Min, Heidi Holder, Aparna Zambare, Jeanne Heuving, Susan Franwsa, JoLynn Edwards, and Bruce Burgett. To many students, including Kathleen Burgess, Kathryn Ramos, Grace Hamilton, Joyce Allen, and the members of the Empty Suitcase Theater Company (including Andrew and Meredith, the interpreters who assisted with many shows). To colleagues who work in disability as well as deaf studies and who have helped lead the way: Brenda Jo Brueggemann, Rosemarie Garland Thomson, Paul Longmore, Lennard Davis, H-Dirksen L. Bauman, and Mairian Corker. This project could not have unfolded without the help and support of a number ofpeople. Among the theater companies, GeoffreyWexler and others at Byrd Hoffman; Bruce Allardice and others at Ping Chong and Company; Laine Dyer (along with other staff members) at the National Theater of the Deaf; and Ranee Ramaswamy at RagamalaDance andTheater Companywere extremely helpful in providing me with research materials and in answering numerous questions. Ping Chong, David Hays, Will Rhys, Camille Jeter, Ranee Ramaswamy, Zarawaar Mistry, and Nicole Zapko shared generously of their time so that I could find out more about their production work. This topic originally developed as the result of my work in the Performance Studies Department at New York University and numerous conversations with my dissertation advisor Barbara Browning. I am immensely grateful for her keen insight, her ability to steer my writing in more fruitful directions, and her respect for the project. I also want to thank my other four committee members, May Joseph, Allen Weiss, Steven Feld, and Fred Moten, for the role they have played in providing a forum for the development of my ideas. A special thanks goes to the anonymous readers of the original texts; their numerous insights have lead to substantial revisions and an immensely better book. I am very grateful to Gallaudet University Press for their interest and faith in the project. A special thanks to Ivey Wallace, ix I HEARING DIFFERENCE assistant editorial director, and Deirdre Mullervy, managing editor, with whom it has a been a pleasure to work. Finally, this project has come to fruition with the support ofmany family members. lowe a special thanks to my mother for her encouragement, to my father's spirit for always believing in me, to my brother and his family who went with me to see Deaf West's Big River in San Francisco, and my niece Rachel who has the entire cast's autographs. Duncan, my son, much prefers cars and rock climbing to academic prose, but he willingly gave up prime computer time along the way so that I could meet my deadlines. He also offered much encouragement simply by his presence. Most importantly, my husband, Gray, has always been my first reader. Without his sharp editorial eye and his faith in this book, Hearing Difforence would not have reached its final stages. ...

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