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The third strategy in this research is framed as an open, ongoing inquiry, posing a fundamental question: is it possible to create collaboratively in a way where theatrical storytelling emerges not through the blending of languages, but through a nonverbal, physical, and intersemiotic logic of performance?

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This strategy shifts the focus from linguistic mediation to movement, rhythm, pauses, embodied presence in space, and relationships between bodies on stage – seeking to avoid the power dynamics often embedded in language hierarchies. It is currently being developed in creative workshops led by Deaf professionals teaching performance techniques, deliberately relocating the center of authorship and knowledge.

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At the same time, the researcher adopts an autoethnographic approach, reflecting on their experience of being directed by a Deaf theatre director and analyzing phenomenologically how this experience transforms their understanding of acting, power, the creative process, and the construction of theatrical meaning.