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Talk of an individual's "success 'in spite of' their impairments" is common, wrote former Arts Access Australia chief Kate Larsen in an article for the Australian Broadcasting Corporation. Larson views such language as "disempowering" and, when it creeps out of scripts and into theatrical criticism, detrimental. Image copyright Bryony Jackson Image caption Heather Lawson (left) and Michelle Stevens in the multi-sensory show Imagined Touch "If every piece of work that features people physician home equity loan Oak Laurel with disability is patronised as being 'inspirational' and 'amazing'[even when it's not], it perpetuates the [incorrect] assumption that arts and disability work equates only to community, amateur or therapeutic art," she wrote. Gladwin, for one, has witnessed a critical change in the way theatre featuring disabled actors is reviewed. "That older guard could only see the company as some sort of benevolent organisation that was giving people an opportunity and somehow if they kept trying they would get somewhere," he says. Since then, there has been a "shift of their understanding". Michelle Ryan, artistic director of youth dance company Restless Dance, which has performers with and without disabilities, believes productions should be informed by, but not defined by, disability. Intimate Space, premiering at the Adelaide Festival in March, has no mention of the word disability in promotional material. "I see our dancers as artists," says Ryan. "I think a lot of people can go to a performance with the expectation of 'isn't it nice that disabled people are dancing'," she adds. "And that really irks me.