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Theatre of the Oppressed: Developing a Pedagogy of Solidarity?
No full textAugusto Boal in Theatre of the Oppressed (TO) proposes that knowledge acquired aesthetically is already, in itself, the beginning of a transformation. In the past few years the author has been using this approach with high school students and teachers to address issues of racism. Interactive theatre presentations were developed in intensive week-long workshops, or in shorter workshops over longer periods of time. The workshops explored the inter-related aspects of the participants becoming aware of their bodies, enabling them to use the body as a vocabulary of expression, creating theatre through verbal and non-verbal language, and using theatre to activate audiences. This article includes a critique of the author's own adaptation of TO and the underlying assumptions of its methodology, structure, and form of transformative theatrical creation. In particular, the author explores TO in the context of anti-racist pedagogy and the development of critical theatre/drama practitioners to address issues raised.
Dans son livre, Le Théâtre de l'opprimé, Augusto Boal propse que le théâtre est une forme de connaissance et, en soi, est le début d'une transformation. Pendant ces dernières années, l'auteur utilisait cette approche avec des étudiants et des enseignants de l'école sécondaire pour s'adresser au sujet de racisme. Les représentations théâtrales et interactives étaient développées au cours des ateliers intensifs, soit d'une semaine, soit d'une durée plus courte. Ces ateliers avaient comme but l'intention de prendre, aux participants, conscience du corps, de trouver un vocabulaire expressif du corps, de créer des langues théâtrales aussi bien verbales que non-verbales et d'animer les spectateurs. Cette communication contient une critique du praxis de l'auteur et des concepts fondamentaux de TO portant sur la méthodologie, la structure et la forme d'une création transformative théâtrale. L'auteur propose d'explorer deux contextes de TO particuliers: du côté de la pédagogie anti-raciste et du côté du développement des practiciens/animateurs du théâtre qui doivent s'adresser aux résultats soulevés
Taking control : young people convening Australia's first youth jury
No full textIn 2003 Australia’s first youth jury was convened in Parramatta, near Sydney. It was also, the organisers believe, the world’s first youth jury to be convened by young people themselves. This project was an experiment in deliberative democracy, an opportunity for young people to create a mechanism to enable young voices to be heard. The project team was made up of a group of university students. The author helped the team apply for funding to transfer their classroom experience to an intractable community problem: racial stereotyping of ethnic groups. Once government funds were granted, the author stepped out of the picture. The chapter reflects upon the adults’ responses to the youth leadership of the youth jury, drawing upon interviews with ten of them to establish their perceptions mostly in relation to the jury process. The chapter begins with an explanation of that process and innovations wrought by the project team
4B. Exploring the 6-part-story-method as performative reflection:‘Why Poke the Monster in the Corner?' Reflections on the experience of reflecting
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Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
A Journey in Metaxis: Theatre of the Oppressed as Enactivist Praxis
Get PDFThe writings of Francisco Varela on cognition and knowledge offer a way to approach the process of drama creation. This article inter-plays an approach to knowledge called enactivism and the particular workshop development process of Theatre of the Oppressed, based on the application in a North American context, of the philosophy and practice of Augusto Boal
A journey in metaxis : been, being, becoming, imag(in)ing drama facilitation
No full textA journey in metaxis explores the facilitation of drama workshops using an adaptation of Theatre
of the Oppressed, a participatory drama process used with high school students, teachers and
others in the community. New possibilities of engagement open up as knowing emerges through a
variety o f forms of dramatic action which are simultaneously the medium, subject and
re-presentation of research.
As a theatre pedagogue I explore how knowing and meaning emerge through theatre and in the
interplay between my life and my work. Writing, then reading, narratives of my practice engages
me in a conversation that helps me draw attention to my practice. Diverse roles and points of view
of the drama facilitator begin to become apparent as these narratives speak through a spiralling
process of shared experiences. Commentaries on these experiences lead to discussions of the
implications of this inquiry for other forms of reflective leadership practice in drama and in
education.
Particular attention is placed on the role of the body and mind (bodymind) of facilitator and
participants as they journey into an increasing awareness of senses, histories, the landscapes
worked in, and the relationships that intertwine through the constant ebb and flow of the drama
workshop. Using a framework that parallels the drama workshop I facilitate, I play with forms of
texts, languages and styles to enter into the text(ure) of the worlds of facilitation so that we may
come face to face with kinaesthetic and discursive experiences remembered and reconsidered.
Writing my body into this exploration enables me to become mindfully aware of, and extends and
transforms, my practice. I re-awaken the memory of my senses and re-connect with them in the
moments of "performing" my teaching. Such poetic and expressive writing enables an evocation
of the world of drama. Writing from and through a sensing body means that reflection on practice
becomes not merely reporting experiences, but also celebrating and expressing the multi-vocal,
multi-layered events that develop drama facilitation skills.
Writing, then reading, about this process of coming to know my identity-in-process as a drama
facilitator enables the interpretation, interrogation and transformation of how one becomes
facilitator, "making the way as we go," (re)writing/performing our presence.Education, Faculty ofLanguage and Literacy Education (LLED), Department ofGraduat
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