Deafness in Russia
Prerevolutionary Russian culture considered deafness a crippling condition comparable with insanity and intellectual disability.[3] Marginalized by the tsarist legal system, Russia's deaf population supported the Bolshevik revolution.[3] Thus, Russia's hearing communities lacked faith that the deaf could successfully overcome their impairment and become ideal New Soviet people.[2] With the state's support, VOG established deaf-only alternatives for on-site industrial-educational programs termed Rabfaks.[3] The Soviet collectivist ideologies alleviated economic competition, thereby easing the deaf population's employment barriers.[3] In addition, by highlighting their physical capabilities, the deaf population realized greater employment opportunities than those with other disabilities.[3] According to Soviet theorist Lev Vygotsky, deaf laborers exhibit comparable working abilities to their hearing counterparts.[2][3][4] Viewed as a natural atmosphere for the hard of hearing, theaters provided employment opportunities for Russia's deaf.[4][3] Founded in 1957 with VOG's support, the Theatre Studio of Sign and Gesture trained deaf actors in various theatrical crafts.[4] Renamed Theatre of Sign and Gesture following governmental support in 1963, the theater highlighted the deaf population's cultural refinement.[4] Thus, through cultural advancements and showcasing their artistic capabilities, Russia's deaf population approached New Soviet idealisms.[3][5] The paper highlighted the deaf's political advancements by repeatedly criticizing the Soviet state without reprimand.