Reflection on the performance of TitusShakespeare's Titus Andronicus is undoubtedly one of the Bard's most gruesome works, dealing with the realms of civilization and barbarism and how the two intersect. From being presented as a skilled leader to dying as a deranged killer, the titular character soon succumbs to his reckless sense of justice and retribution. In scene 2 of Act 3 of this play, four members of the Andronicus – Titus, Lavinia, Marcus, and young Lucius – are gathered for a light meal, quickly diving into a conversation about Lavinia's inability to express herself easily through verbal language or written. The discussion ends with Titus pledging to become his daughter's interpreter and translate her gestures so others can understand them (“Titus Andronicus”). Since this scene so fully encapsulates the play's themes of language, communication, power, and the breakdown of such social characteristics, I felt it would be appropriate to reimagine Titus as a deaf man and provide one of his monologues through the American Sign Language. We say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Following violent sexual assault and brutal mutilation by Tamora's sons, Chiron and Demetrius, Lavinia has neither the tongue nor the hands to comfortably express her opinions and grief. Rather than being allowed to create their own method of communication, the men in the play – Titus and Marcus, in particular – impose their preferred solutions on Lavinia. Not only do they violate her remaining shreds of free will, but, by objectifying her, they also reduce her status as a human being. This demonstrates Tito'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 firm in his decisions. The tragedy, then, lies in his failed transition from steadfast commander to loving father, ultimately leading him into the spiral of his bloody quest for revenge. Taking this into account, the idea of ​​a deaf Tito seemed appropriate as a literal representation of his domineering attitude, as the only voice he hears (so to speak) is his own, and he firmly believes that his logic and reasoning are firmer. While searching for a method to solve this madness, particularly regarding how to translate Shakespearean English into ASL, I came across a resource that has proven immensely helpful to my writing process. The ASL Shakespeare Project, created in 1999 by four members of Yale University, was started in an effort to provide actors, teachers, creatives, and Shakespeare enthusiasts with guides on how to make ASL Shakespeare productions ("The Project"). The site includes free downloadable lesson plans and reference videos, explaining how every aspect of Shakespeare's use of language can be expressed through ASL. For example, the use of transformative signs – signs with the same basic hand shape – can emulate Shakespeare's use of rhyme and rhythm, while cultural references – modifying the language to be more directly identifiable with members of the deaf community - elevate ASL Shakespeare to something more than just a simple linguistic change. This immerses everyone involved in a deeper level of understanding, subsequently highlighting the importance of an effective mode of communication in the absence of the spoken word. In my approach to characterizing Titus, I wanted to communicate more of his misguided tenderness. Although.