Many people are not aware that Francisco de Goya – one of the forebears of the modern art movement – became profoundly deaf in mid-career. His most provocative work was created soon after he lost his hearing. Coincidentally, Goya happened to purchase a home in the countryside of Madrid that was already labeled “Quinta del Sordo” (house of the deaf man). Previously owned by a deaf man, the villa was clearly marked for all who passed it. Some of Goya’s darkest and most profound art, “The Black Paintings,” were literally painted on the walls inside his villa. 

This play delves into movement, masquerade, and gestures built upon one etching as a keystone – a self-portrait of Goya asleep at his drawing table. He wrote in Spanish on the etching, which translated as: “1st Dream. Universal Language. Drawn and etched by F.co de Goya. 1797.” He also inscribed what one arts researcher identified as stage directions: “The artist dreaming. His only purpose is to banish harmful, vulgar beliefs, and to perpetuate in this work of caprices the solid testimony of truth.” 

I decided to make this etching the turning point for when Goya became deaf. All of the scenes before and after it were constructed from using his other etchings and paintings as foundations for our improvised dramatic scenarios. To help the actors ingest the scenarios, we embedded Goya’s images into the written script and sequenced them in a way that revealed some semblance of a plot. 

What was Goya’s dream of universal language? Was it gestures? Paintings? Writings? Body Language? All the above? A wish for people to communicate the truth through a common language? When one loses the sense of hearing or sight, does humanity’s truth become clearer and more honest? And, what happens when an artist strives to reveal the truth? 

Throughout the development of our visually oriented drama, we discovered possible insights into Goya’s satirical humor, his mockery of the social mores and superstitions of his time, his caustic views on the ills and follies of humanity, and the effect of his deafness on his art and relationships with people. 

What better way to explore and develop all of the above than with a mixed cast of deaf and hearing people who approached this production with boldness, bravery, creativity, open-mindedness, and camaraderie. 

I am forever indebted to Iosif Schneiderman for sharing his phenomenal skills in mask-making, creative movement, and pantomime to help develop and shape the early versions of this play. 

Willy Conley 
Writer and Director 

Krystin Balzarini  | Machiele Brown
MJ Jones | Mandy Welly
Mary Wight   

CCBC Interpreter Prep Interns 

Sandy Brown | Morgan Goods  
Isabel Montero | Ashley O’Neal  
Sharon Shaffer | Ben Touzeau