b'illuminating her face as she looks out over the audience. A diegetic sound of aAlthough this visual metaphor highlights the late stage of her cognitive decline, it is male doctors voice plays and asks Jane questions such as:important to consider the perspectives of dementia care specialists such asKitwood, who have warned against perpetuating the notion of dementia as the DOCTOR: Where are we now? What season is it? What time is it?death that leaves the body behind (Kitwood, 2019: 75). Such perception, Kitwood suggests, risks dehumanising individuals with dementia, reducing themThe doctors voice is cold and sharp. There is no rapport building or small talk. Thesolely to their cognitive decline rather than recognising their continuedimagery is similar to a police interrogation - the doctor doesnt offer much comfort,personhood throughout their experience of dementia. It can be argued that the or any form of friendly conversation.narrative of this play fits into one of the tropes of dementia-focused theatreoutlined by Anne Basting, in her book Forget Memory (Basting, 2009). Explained in In contrast, the doctor in Guy Le Jeunes play, The Songbirds (2021),is chapter four: Tightly Told Tragedies of Dementia, the trope sees a fall from1characterised as warm, welcoming and attentive. Her interaction with Gerry greatness (Basting, 2009: 44). A comparison is made between who the dementia exhibits three of the twelve positive interactions outlined in Kitwoods book patient used to be, to who they are now; at the beginning of the play, Jane isDementia Reconsidered (Kitwood, 2019:151-154). The interaction begins with depicted as vibrant and energetic, whereas at the end, she is reduced to a pile of recognition: as she greets Gerry by nameHello Mr Maguireimmediatelyclothes.acknowledging his identity and personhood. There is a sense of play, through light humour such as You will have to put up with me!, which serves to build rapportThis trope of regression is not a stereotype surrounding dementia in media alone and eases anxiety, thus leading to the third interaction, relaxation. The doctor sitsbut is also a notion evident in the daily care of dementia patients (Basting, 2009: in close proximity to Gerry and maintains eye-contact whilst leaning in attentively28). Behaviours exhibited that contribute towards this trope include infantilising when he speaks. Kitwood emphasises such behaviours, particularly calm the dementia patient, using a patronising tone or discussing the individual withpresence and respectful physical closeness, as behaviours that can significantlyanother carer as if the person isnt present in the room. The impact of peoples reduce distress and foster a sense of safety for those with dementia.interactions when talking to a person with dementia is highly significant, asMitchell states that its how other people interact with you that can change how However, despite these positive aspects, the scene also subtly critiques clinicalyou feel about your diagnosis (Mitchell, 2022: 210). The infantilisation or ignoring communication. The doctor informs Gerry that he will undergo a series of cognitiveof people with dementia is identified by Kitwood as one of the key elements ofand motor-function tests, but uses clinical terminology and abbreviations withoutmalignant social psychology, meaning something that occurs in a careexplanation, assuming that he understands. This moment highlights a recurringenvironment that is damaging to personhood (Kitwood, 2019: 85-86). issue in medical settings - the unintentional exclusion of patients from their own diagnostic process due to inaccessible language. This contributes to the Performance scholar Mark Fortier poses the question, Does performancedisempowerment that many individuals with dementia experience, even in repeat and preserve.misery as much or more than it dissipates it? (Fortier, 2002: otherwise supportive environments. 96) when discussing therapeutic performance and psychoanalysis. Adopting this perspective encourages the audience to consider the ramifications of dementia In the performances examined, characters with dementias senses of depictions on those experiencing dementia and the families of those withpersonhood are depicted in varying ways, using performance techniques to reflectdementiadoes dementia-focused theatre serve them? For whom is dementia- how identity can be upheld or diminished throughout a persons dementia journey.focused theatre created? In 1 Beach Road, the characterisation and progression of Janes symptoms ofdementia portray how dementia can erode a sense of personhood in its later An upheld sense of personhood is integral to a persons sense of self and identity stages. The life-partner caregiver dynamic is explored here, as Jane slips away andas they navigate their way through a dementia diagnosis. Kitwood enforces the Victoria desperately tries to hold back the waters (Gardner, 2011). In one of themessage that dementia diagnosis doesnt equate to the end of life, but instead final scenes, when it is clear that Jane no longer has memory of who Victoria is,is something that can be worked through with communication, compassion and Janes physical presence is reduced to clothes on a chair. optimism. Through these performances, we see how attitudes to personhood have adapted over time as society progresses towards more hopeful images ofdementia and help the audience to confront the reality of the illness, encourage 1Written for Griann Theatre, Northern Ireland in co-production with the University of Ulster and withmore people to seek a diagnosis or further medical care, and encourage thosefeedback from advocacy group, Dementia NI. Eds. affected to tell their stories.40 41'