Pub Date : 2022-04-13DOI: 10.1080/13569783.2022.2061847
Russell Fewster, Brad West
ABSTRACT Self@arts is a performing arts programme delivered to Australian Defence Force personnel undergoing rehabilitation for physical and/or psychological injuries. In contrast to the cognitive emphasis within the dominant therapeutic arts model, self@arts provides participants with agency for re-narrating the self through a transformative, ritual experience of creativity. This is achieved by drawing on the body and voice pedagogies of Jacques Lecoq and Cicely Berry. The benefits of this approach are illustrated via semi-structured interviews and creative works produced in the programme, which suggest that the participants achieved heightened psychophysical experiences and consequently improved confidence, well-being, and a sense of self.
{"title":"Applied theatre for military personnel in recovery: creativity, agency, and re-imagining the self","authors":"Russell Fewster, Brad West","doi":"10.1080/13569783.2022.2061847","DOIUrl":"https://doi.org/10.1080/13569783.2022.2061847","url":null,"abstract":"ABSTRACT Self@arts is a performing arts programme delivered to Australian Defence Force personnel undergoing rehabilitation for physical and/or psychological injuries. In contrast to the cognitive emphasis within the dominant therapeutic arts model, self@arts provides participants with agency for re-narrating the self through a transformative, ritual experience of creativity. This is achieved by drawing on the body and voice pedagogies of Jacques Lecoq and Cicely Berry. The benefits of this approach are illustrated via semi-structured interviews and creative works produced in the programme, which suggest that the participants achieved heightened psychophysical experiences and consequently improved confidence, well-being, and a sense of self.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128105824","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-05DOI: 10.1080/13569783.2022.2057793
Helene Grøn
ABSTRACT This article reflects on the ethics and process of writing and performing the play This Is Us with a group of rejected asylum seekers from Deportation Centre Sjælsmark in Denmark. Positioned within larger frameworks of political and media hostility, the group pushed for a more radical approach of ‘not just theatre’, but called instead for solidarity within and beyond moments of collective writing. From this process, ‘dramaturgical ethics’ arose as an aesthetic and ethical practice, which can support thinking through responsibilities and relationalities involved in research, theatre making and entering into the world together.
{"title":"‘Not just theatre, also politics, law’: on dramaturgical ethics and collective playwriting in Deportation Centre Sjælsmark","authors":"Helene Grøn","doi":"10.1080/13569783.2022.2057793","DOIUrl":"https://doi.org/10.1080/13569783.2022.2057793","url":null,"abstract":"ABSTRACT This article reflects on the ethics and process of writing and performing the play This Is Us with a group of rejected asylum seekers from Deportation Centre Sjælsmark in Denmark. Positioned within larger frameworks of political and media hostility, the group pushed for a more radical approach of ‘not just theatre’, but called instead for solidarity within and beyond moments of collective writing. From this process, ‘dramaturgical ethics’ arose as an aesthetic and ethical practice, which can support thinking through responsibilities and relationalities involved in research, theatre making and entering into the world together.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129069771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2061845
A. Fernandes, Matias Corbett Garcez
ABSTRACT In this article, we examine the ways digital spaces have shaped and affected how we produce and consume theatre during the COVID-19 pandemic. The case study in question consists of a retrospective analysis of the translation into Brazilian Portuguese, rehearsal process, and live digital rehearsed reading via Google Meet of Northern Irish Christina Reid’s play My Name, Shall I Tell You My Name? ([1989] 1997). By reflecting on how digital technologies have been used as creative tools in theatre-making, we consider how the medium itself has affected the reception of the play by a small contemporary Brazilian audience.
{"title":"‘An acceptable level of violence’: a Brazilian translation and digital rehearsed reading of Christina Reid’s My Name, Shall I Tell You My Name?","authors":"A. Fernandes, Matias Corbett Garcez","doi":"10.1080/13569783.2022.2061845","DOIUrl":"https://doi.org/10.1080/13569783.2022.2061845","url":null,"abstract":"ABSTRACT In this article, we examine the ways digital spaces have shaped and affected how we produce and consume theatre during the COVID-19 pandemic. The case study in question consists of a retrospective analysis of the translation into Brazilian Portuguese, rehearsal process, and live digital rehearsed reading via Google Meet of Northern Irish Christina Reid’s play My Name, Shall I Tell You My Name? ([1989] 1997). By reflecting on how digital technologies have been used as creative tools in theatre-making, we consider how the medium itself has affected the reception of the play by a small contemporary Brazilian audience.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"268 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124349368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2060732
Stella Dimitrakopoulou
ABSTRACT The central question in this paper is: What kind of knowledge is acquirable in the process of copying dance via a video? This question is approached through choreographic practice, teaching and learning experiences, as well as theoretical research. Subjects that are raised include the transmission of embodied knowledge in digital environments, the experience of failure or success, and the relationship between dance teachers and students. The possibilities offered to dance educators and students are explored, through an analysis of two dance experiments set into practice within distance education, due to COVID-19, shedding light into new perspectives in asynchronous teaching methods.
{"title":"Teaching dance in digital environments: copying through video","authors":"Stella Dimitrakopoulou","doi":"10.1080/13569783.2022.2060732","DOIUrl":"https://doi.org/10.1080/13569783.2022.2060732","url":null,"abstract":"ABSTRACT The central question in this paper is: What kind of knowledge is acquirable in the process of copying dance via a video? This question is approached through choreographic practice, teaching and learning experiences, as well as theoretical research. Subjects that are raised include the transmission of embodied knowledge in digital environments, the experience of failure or success, and the relationship between dance teachers and students. The possibilities offered to dance educators and students are explored, through an analysis of two dance experiments set into practice within distance education, due to COVID-19, shedding light into new perspectives in asynchronous teaching methods.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129485225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2060733
D. Hockham, J. Campbell, A. Chambers, P. Franklin, I. Pollard, T. Reynolds, S. Ruddock
ABSTRACT How do archives start and who are they for? The Caribbean Social Forum, based in Woolwich in the Royal Borough of Greenwich, London, are currently considering these questions as they look to preserve the stories of over 600 Caribbean members who the media have framed as ‘the Windrush Generation’. The paper argues that co-created projects, where the lead is de-centered away from the university institution itself, might begin to decolonise knowledge paradigms and allow for new forms of knowledge exchange.
{"title":"Let Our Legacy Continue: beginning an archival journey a creative essay of the digital co-creation and hybrid dissemination of Windrush Oral Histories at the University of Greenwich’s Stephen Lawrence Gallery","authors":"D. Hockham, J. Campbell, A. Chambers, P. Franklin, I. Pollard, T. Reynolds, S. Ruddock","doi":"10.1080/13569783.2022.2060733","DOIUrl":"https://doi.org/10.1080/13569783.2022.2060733","url":null,"abstract":"ABSTRACT How do archives start and who are they for? The Caribbean Social Forum, based in Woolwich in the Royal Borough of Greenwich, London, are currently considering these questions as they look to preserve the stories of over 600 Caribbean members who the media have framed as ‘the Windrush Generation’. The paper argues that co-created projects, where the lead is de-centered away from the university institution itself, might begin to decolonise knowledge paradigms and allow for new forms of knowledge exchange.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122667224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2064213
Kay Hepplewhite
ABSTRACT This article uses a theory of recognition and empathy to examine how human connection online is developed in digital applied theatre practice and pedagogy. Theatre activities and university teaching were challenged during the pandemic 2020. Here, the work of Curious Monkey Theatre Company and a collaborative digital learning project for university students, Curious About Theatre, show responsive adaptations. Artistic Director Amy Golding describes the online performance and creative activities with community groups. The author’s strategies designed to substitute in-person embodied student learning in community-based practice outline how an applied theatre lecturer taught in a virtual classroom through technology-enhanced learning (TEL).
{"title":"Curious about theatre: finding the human connection in a digital learning project collaboration with Curious Monkey Theatre Company for applied theatre university students","authors":"Kay Hepplewhite","doi":"10.1080/13569783.2022.2064213","DOIUrl":"https://doi.org/10.1080/13569783.2022.2064213","url":null,"abstract":"ABSTRACT This article uses a theory of recognition and empathy to examine how human connection online is developed in digital applied theatre practice and pedagogy. Theatre activities and university teaching were challenged during the pandemic 2020. Here, the work of Curious Monkey Theatre Company and a collaborative digital learning project for university students, Curious About Theatre, show responsive adaptations. Artistic Director Amy Golding describes the online performance and creative activities with community groups. The author’s strategies designed to substitute in-person embodied student learning in community-based practice outline how an applied theatre lecturer taught in a virtual classroom through technology-enhanced learning (TEL).","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131396803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2061846
Máiréad Ní Chróinín
ABSTRACT In digital interactive and immersive performance, the body of the audience member is the locus of both meaning-making (through embodied, sensory operations) and meaning itself (through the affective experience of self as hybrid, open and interconnected). This article draws on André Lepecki’s concept of ‘will to archive’ to argue that the body can also be understood as the fundamental archive of these performances. Utilising the case-study of a work by the author, Slow Down (You Move Too Fast), this article explores the implications of ‘body as archive’ for the creation, archiving and re-presentation of this form of performance.
{"title":"The body as (digital) archive: documenting, re-enacting and teaching digital interactive and immersive performance","authors":"Máiréad Ní Chróinín","doi":"10.1080/13569783.2022.2061846","DOIUrl":"https://doi.org/10.1080/13569783.2022.2061846","url":null,"abstract":"ABSTRACT In digital interactive and immersive performance, the body of the audience member is the locus of both meaning-making (through embodied, sensory operations) and meaning itself (through the affective experience of self as hybrid, open and interconnected). This article draws on André Lepecki’s concept of ‘will to archive’ to argue that the body can also be understood as the fundamental archive of these performances. Utilising the case-study of a work by the author, Slow Down (You Move Too Fast), this article explores the implications of ‘body as archive’ for the creation, archiving and re-presentation of this form of performance.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"136 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124692170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2064214
B. Houlihan, C. Morris
ABSTRACT This paper introduces the special issue of ‘Performing in Digital’ and reflects the processes and experiences of theatre performance, production, and education during the most affected years of the COVID-19 pandemic. It examines the form, modality, and mediality of theatre production and collaboration during this time, for theatre practitioners and general audiences. As theatres went dark in 2020, performance education and production practices migrated into a largely online and digital space. This paper presents new findings into the sense of self and liveness while analysing the shift in performance: culturally and socially, from the physical to the hyper-connected online space.
{"title":"Introduction – performing in digital in the COVID-19 era","authors":"B. Houlihan, C. Morris","doi":"10.1080/13569783.2022.2064214","DOIUrl":"https://doi.org/10.1080/13569783.2022.2064214","url":null,"abstract":"ABSTRACT This paper introduces the special issue of ‘Performing in Digital’ and reflects the processes and experiences of theatre performance, production, and education during the most affected years of the COVID-19 pandemic. It examines the form, modality, and mediality of theatre production and collaboration during this time, for theatre practitioners and general audiences. As theatres went dark in 2020, performance education and production practices migrated into a largely online and digital space. This paper presents new findings into the sense of self and liveness while analysing the shift in performance: culturally and socially, from the physical to the hyper-connected online space.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114625564","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-03DOI: 10.1080/13569783.2022.2060731
Daniel Ciba
ABSTRACT This essay documents my expansions on a lesson developed in courses that juxtaposed performance and memory studies. Building on a recursive reading of Toni Morrison’s literary conceptualisation of rememory, I describe the reiterative nature of memory using two digital performances – a TikTok meme featuring 50 Cent’s ‘Candy Shop’ and a Reddit thread featuring a series of bird paintings. These performances made before the 2020 pandemic show the potentials of collectively inspired art created as virtual media.
{"title":"#RecursionFTW","authors":"Daniel Ciba","doi":"10.1080/13569783.2022.2060731","DOIUrl":"https://doi.org/10.1080/13569783.2022.2060731","url":null,"abstract":"ABSTRACT This essay documents my expansions on a lesson developed in courses that juxtaposed performance and memory studies. Building on a recursive reading of Toni Morrison’s literary conceptualisation of rememory, I describe the reiterative nature of memory using two digital performances – a TikTok meme featuring 50 Cent’s ‘Candy Shop’ and a Reddit thread featuring a series of bird paintings. These performances made before the 2020 pandemic show the potentials of collectively inspired art created as virtual media.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"562 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128200497","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/13569783.2022.2049223
Florian J. Seubert
ABSTRACT This article re-contextualises applied drama practice in the wake of Covid-19, with a particular focus on cognitive diversity. From an inclusive perspective, it asks how encouraging self-expression helps to diversify the still often one-dimensional perception of people with learning disabilities in media reports. It thereby continues an on-going argument around empowered representation within disability drama and culture. The article traces arts practice that engaged a group of women with learning disabilities in reflections about the lockdown 2020. The practice section of the article documents three concrete examples from a workshop series with the members of Powerhouse, a group of women with learning disabilities from the East of London.
{"title":"‘Sanitise your hands with rainbows!’ Encouraging self-representation in times of crisis: inclusive reflections on Covid-19, together with women with learning disabilities from East London","authors":"Florian J. Seubert","doi":"10.1080/13569783.2022.2049223","DOIUrl":"https://doi.org/10.1080/13569783.2022.2049223","url":null,"abstract":"ABSTRACT This article re-contextualises applied drama practice in the wake of Covid-19, with a particular focus on cognitive diversity. From an inclusive perspective, it asks how encouraging self-expression helps to diversify the still often one-dimensional perception of people with learning disabilities in media reports. It thereby continues an on-going argument around empowered representation within disability drama and culture. The article traces arts practice that engaged a group of women with learning disabilities in reflections about the lockdown 2020. The practice section of the article documents three concrete examples from a workshop series with the members of Powerhouse, a group of women with learning disabilities from the East of London.","PeriodicalId":186209,"journal":{"name":"Research in Drama Education: The Journal of Applied Theatre and Performance","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132655934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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