Collaborative playbuilding and the act of crystallization

IF 0.2 0 THEATER Applied Theatre Research Pub Date : 2022-07-01 DOI:10.1386/atr_00061_1
James Webb
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Abstract

Collaborative playbuilding is an emerging arts-based research design that uses playwriting and playbuilding as tools of inquiry for artists and researchers to investigate sociological questions, dealing with such matters as racial and class conflict, youth offenders, school safety, stereotypes of urban teenage girls, women and obesity, and social justice. Researchers use the design to generate and disseminate data; however, the literature reveals a lack of studies that show how the playbuilding process ‐ the actual structuring and crafting of the performance script ‐ can be used as a primary means of data analysis. In this article, I discuss my study, in which I used collaborative playbuilding to investigate why some African Americans leave the Black Church and choose not to return. I argue that although I conducted my research using traditional qualitative methods (i.e. interviews, questionnaires, observations and a focus group), I relied on the playbuilding process to serve as an act of crystallization, which provided me with creative distance to analyse the narrative data in interesting ways, yielding findings not previously seen in the literature and thus supporting the efficacy of the arts-based design.
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合作游戏构建和结晶行为
协作游戏构建是一种新兴的基于艺术的研究设计,它将剧本创作和游戏构建作为艺术家和研究人员调查社会学问题的工具,处理诸如种族和阶级冲突、青少年罪犯、学校安全、城市少女的刻板印象、妇女和肥胖以及社会正义等问题。研究人员使用设计来生成和传播数据;然而,文献显示,缺乏研究表明,游戏构建过程——表演脚本的实际结构和制作——可以作为数据分析的主要手段。在这篇文章中,我讨论了我的研究,在这个研究中,我使用合作游戏来调查为什么一些非裔美国人离开黑人教堂并选择不再回来。我认为,尽管我使用了传统的定性方法(即访谈,问卷调查,观察和焦点小组)进行研究,但我还是将游戏构建过程作为一种结晶行为,这为我提供了创造性的距离,以便以有趣的方式分析叙事数据,产生以前在文献中未见过的发现,从而支持基于艺术的设计的有效性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.70
自引率
50.00%
发文量
6
期刊介绍: Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.
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