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Work Program forcing activities you can't do

Bloodheart
On ESA-WRAG and on Work Program, if you've already informed them that there are certain activities you can't due to disability and they attempt to force you to do so anyway what do you do? 

I'm autistic (ASD) and suffer from general anxiety disorder. I can't do role-play but Work Program staff seem to think this is just 'I dislike doing role-play' rather than it being due to disability - they don't seem to understand that I can't pluck things out of nowhere to fill-in missing information to act within a given situation and I can't perform in front of others. If I do role-play it's a guaranteed meltdown; it may cause me to hurt myself or hurt the staff members, will result in my inability to function fully for up to a week afterwards, and may make my autism significantly worse long-term. They just don't seem to acknowledge my disability and refuse to listen to me when I tell them what would or wouldn't be helpful to me, they've not even asked about my work history or what could help.

My concern is that; 
A.) they make me do it regardless, and I suffer harm as a result. 
B. i) if I can't do it or refuse to do it my benefits will be sanctioned. 
B ii) I can't appeal if sanctioned as DWP are just as unlikely to understand Autism. 

The mere thought of this situation is causing me to suffer anxiety, sleeping problems, and I'm struggling to function...even without the threat of role play Work Program causes these problems because I'm always *TERRIFIED* of what Work Program are going to do to me or that they're going to sanction me - in the past I've experienced verbal abuse and a sanction as a result of their eror, so this fear isn't unfounded. This role play thing hasn't happened so far but I'm really worried about what exactly I'm supposed to do when it does come up...can I refuse to do it? What happens if I do? 
This goes for other things too...work experience is fine, or at least as 'fine' as working for free can be, but what if the specific work placement is prejudice against me or I would struggle to work there because they use phones (I can't use a phone) or it involves lots of talking to others. Or what about them trying to force me to apply for work via phone, or for jobs I know I'd struggle with, etc. I'm worried that they will force me to do things I can't do, and as a result I'll experience crippling meltdown or/and lose my benefits...I don't know what my rights are, or if I have any at all. 
Parents

  • http://www.jkp.com/catalogue/book/9781843104957/extract/

    Imitation

    An intelligent and constructive compensatory mechanism used by some children is to observe and absorb the persona of those who are socially successful. Such children initially remain on the periphery of social play, watching and noting what to do. They may then re-enact the activities that they have observed in their own solitary play, using dolls, figures or imaginary friends at home. They are rehearsing, practising the script and their role, to achieve fluency and confidence before attempting to be included in real social situations. Some children can be remarkably astute in their observation abilities, copying gestures, tone of voice and mannerisms. They are developing the ability to be a natural actor. For example, in her autobiography, Liane Holliday Willey describes her technique:

    I could take part in the world as an observer. I was an avid observer. I was enthralled with the nuances of people's actions. In fact, I often found it desirable to become the other person. Not that I consciously set out to do that, rather it came as something I simply did. As if I had no choice in the matter. My mother tells me I was very good at capturing the essence and persona of people. (Willey 1999, p.22)

    I was uncanny in my ability to copy accents, vocal inflections, facial expressions, hand movements, gaits, and tiny gestures. It was as if I became the person I was emulating. (Willey 1999, p.23)

    Becoming an expert mimic can have other advantages. The child may become popular for imitating the voice and persona of a teacher or character from television. The adolescent with Asperger's syndrome may apply knowledge acquired in drama classes to everyday situations, determining who would be successful in this situation and adopting the persona of that person. The child or adult may remember the words and body postures of someone in a similar situation in real life or in a television programme or film. He or she then re-enacts the scene using 'borrowed' dialogue and body language. There is a veneer of social success but, on closer examination, the apparent social ­competence is not spontaneous or original but artificial and contrived. However, practice and success may improve the person's acting abilities such that acting becomes a possible career option.

    An adult with Asperger's syndrome who is a retired actor wrote to me and explained that, 'As an actor, I find the scripts in theatre far more real than everyday life. The role playing comes naturally to me.' The ability to act a role in daily life is explained by Donna Williams:

    I found it impossible to talk to her in a normal voice. I began to put on a strong American accent, making up a history and identity for myself to go with it. As always, I actually convinced myself that I was this new character and consistently kept this up for six months. (Williams 1998, p.73)

Reply

  • http://www.jkp.com/catalogue/book/9781843104957/extract/

    Imitation

    An intelligent and constructive compensatory mechanism used by some children is to observe and absorb the persona of those who are socially successful. Such children initially remain on the periphery of social play, watching and noting what to do. They may then re-enact the activities that they have observed in their own solitary play, using dolls, figures or imaginary friends at home. They are rehearsing, practising the script and their role, to achieve fluency and confidence before attempting to be included in real social situations. Some children can be remarkably astute in their observation abilities, copying gestures, tone of voice and mannerisms. They are developing the ability to be a natural actor. For example, in her autobiography, Liane Holliday Willey describes her technique:

    I could take part in the world as an observer. I was an avid observer. I was enthralled with the nuances of people's actions. In fact, I often found it desirable to become the other person. Not that I consciously set out to do that, rather it came as something I simply did. As if I had no choice in the matter. My mother tells me I was very good at capturing the essence and persona of people. (Willey 1999, p.22)

    I was uncanny in my ability to copy accents, vocal inflections, facial expressions, hand movements, gaits, and tiny gestures. It was as if I became the person I was emulating. (Willey 1999, p.23)

    Becoming an expert mimic can have other advantages. The child may become popular for imitating the voice and persona of a teacher or character from television. The adolescent with Asperger's syndrome may apply knowledge acquired in drama classes to everyday situations, determining who would be successful in this situation and adopting the persona of that person. The child or adult may remember the words and body postures of someone in a similar situation in real life or in a television programme or film. He or she then re-enacts the scene using 'borrowed' dialogue and body language. There is a veneer of social success but, on closer examination, the apparent social ­competence is not spontaneous or original but artificial and contrived. However, practice and success may improve the person's acting abilities such that acting becomes a possible career option.

    An adult with Asperger's syndrome who is a retired actor wrote to me and explained that, 'As an actor, I find the scripts in theatre far more real than everyday life. The role playing comes naturally to me.' The ability to act a role in daily life is explained by Donna Williams:

    I found it impossible to talk to her in a normal voice. I began to put on a strong American accent, making up a history and identity for myself to go with it. As always, I actually convinced myself that I was this new character and consistently kept this up for six months. (Williams 1998, p.73)

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