Pub Date : 2019-07-03DOI: 10.1080/08929092.2019.1689022
Gustave J. Weltsek, Clare Hammoor
Truth has never been stable; it’s slippery, defined by those in power. Lately, greased by changing notions of power, authenticity, and sourcing, understandings of truth as respected, objective, sta...
{"title":"Drama with, by and for youth in an age of post-truth","authors":"Gustave J. Weltsek, Clare Hammoor","doi":"10.1080/08929092.2019.1689022","DOIUrl":"https://doi.org/10.1080/08929092.2019.1689022","url":null,"abstract":"Truth has never been stable; it’s slippery, defined by those in power. Lately, greased by changing notions of power, authenticity, and sourcing, understandings of truth as respected, objective, sta...","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"91 - 93"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1689022","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46399276","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 : 2019-07-03DOI: 10.1080/08929092.2019.1685326
J. Klein
{"title":"Creativity in theatre: theory and action in theatre/drama education","authors":"J. Klein","doi":"10.1080/08929092.2019.1685326","DOIUrl":"https://doi.org/10.1080/08929092.2019.1685326","url":null,"abstract":"","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"163 - 164"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1685326","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45548335","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 : 2019-07-03DOI: 10.1080/08929092.2019.1688212
Rachel Turner-King
ABSTRACT Devising often emphasizes nonhierarchical and collaborative modes of creating performance. As such, it holds promise for young people seeking to develop their agency as emergent artists. In 2016–17, Rachel Turner-King worked with The Belgrade’s Canley Youth Theatre (Coventry, UK) to explore their feelings about regional political issues, Brexit, the election of Donald Trump, and the rise of “fake news”. However, privileging democratic co-creation raises questions about the director’s role and responsibility in the creative process. Drawing on Richard Sennett’s discussion of craftsmanship, this paper focuses on the methods used to craft theatre with youth by considering the interconnections between an “ethics of care” and the artistic processes of dramaturgy.
{"title":"Questioning collaborative devising in a post-truth era: Crafting theatre with youth","authors":"Rachel Turner-King","doi":"10.1080/08929092.2019.1688212","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688212","url":null,"abstract":"ABSTRACT Devising often emphasizes nonhierarchical and collaborative modes of creating performance. As such, it holds promise for young people seeking to develop their agency as emergent artists. In 2016–17, Rachel Turner-King worked with The Belgrade’s Canley Youth Theatre (Coventry, UK) to explore their feelings about regional political issues, Brexit, the election of Donald Trump, and the rise of “fake news”. However, privileging democratic co-creation raises questions about the director’s role and responsibility in the creative process. Drawing on Richard Sennett’s discussion of craftsmanship, this paper focuses on the methods used to craft theatre with youth by considering the interconnections between an “ethics of care” and the artistic processes of dramaturgy.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"106 - 94"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688212","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49505926","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 : 2019-07-03DOI: 10.1080/08929092.2019.1688211
Bryoni Trezise
ABSTRACT In this article I consider the performative moving sculpture titled 16 Girls (2015) produced by Australian-based organization St Martins Youth Art Center as a work that plays consciously and actively with the everyday social performativities of the girl-child-figure. It does so by using contemporary performance practices that engage techniques of Invisible Theatre to disrupt site-specific locations with augmented pedestrian choreographies. In this article, I suggest that the work forms choreographies that visually and physically punctuate relationships between urban environments and everyday social practices to invite new apprehensions of the “maternal child” – a figure who appears to own her own means of production and to thereby give birth to herself.
{"title":"Performing at the interval: Perambulations of the maternal child in an Australian youth-based arts practice","authors":"Bryoni Trezise","doi":"10.1080/08929092.2019.1688211","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688211","url":null,"abstract":"ABSTRACT In this article I consider the performative moving sculpture titled 16 Girls (2015) produced by Australian-based organization St Martins Youth Art Center as a work that plays consciously and actively with the everyday social performativities of the girl-child-figure. It does so by using contemporary performance practices that engage techniques of Invisible Theatre to disrupt site-specific locations with augmented pedestrian choreographies. In this article, I suggest that the work forms choreographies that visually and physically punctuate relationships between urban environments and everyday social practices to invite new apprehensions of the “maternal child” – a figure who appears to own her own means of production and to thereby give birth to herself.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"119 - 128"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688211","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42012930","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 : 2019-07-03DOI: 10.1080/08929092.2019.1685328
Cully Long
{"title":"Puppetry in Theatre and Arts Education: Head, Hands and Heart, by Johanna Smith. Methuen Drama, 2019, 169 pages, ISBN: 978-1-350-01291-2","authors":"Cully Long","doi":"10.1080/08929092.2019.1685328","DOIUrl":"https://doi.org/10.1080/08929092.2019.1685328","url":null,"abstract":"","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"165 - 166"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1685328","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48602496","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 : 2019-07-03DOI: 10.1080/08929092.2019.1688745
Anita Hallewas
ABSTRACT This paper explores the process in which applied theatre workshops were utilized to research and devise a theatre performance with a group of young people in a rural town in the interior of British Columbia, Canada. The project explored the topic of gun violence and specifically took its stimulus from the 2011 terrorist attack in Norway where 77 young people were gunned down at a summer camp by white supremacist Anders Brevik. The paper explores many facets of the project, including the importance of creating spaces where the young people would feel safe to work and how applied theatre strategies were utilized during this process for both data collection and devising processes with the intention of creating social change. The writer shares how as part of the project's plan, an invited external theatre practitioner came to direct the final portion of the project and in this step the intention of the project quickly changed from the way the young participants had intended. The article reflects on the many lessons that came with the process and changes the writer might implement for the future.
{"title":"Researching and devising youth theatre: Loss of voice and agency through parachute theatre","authors":"Anita Hallewas","doi":"10.1080/08929092.2019.1688745","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688745","url":null,"abstract":"ABSTRACT This paper explores the process in which applied theatre workshops were utilized to research and devise a theatre performance with a group of young people in a rural town in the interior of British Columbia, Canada. The project explored the topic of gun violence and specifically took its stimulus from the 2011 terrorist attack in Norway where 77 young people were gunned down at a summer camp by white supremacist Anders Brevik. The paper explores many facets of the project, including the importance of creating spaces where the young people would feel safe to work and how applied theatre strategies were utilized during this process for both data collection and devising processes with the intention of creating social change. The writer shares how as part of the project's plan, an invited external theatre practitioner came to direct the final portion of the project and in this step the intention of the project quickly changed from the way the young participants had intended. The article reflects on the many lessons that came with the process and changes the writer might implement for the future.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"153 - 162"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42791849","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 : 2019-07-03DOI: 10.1080/08929092.2019.1688744
Roxanne L. Schroeder-Arce
ABSTRACT The Texas State Board of Education has recently approved and is implementing new state adopted standards. One segment of the standards, titled Historical and Cultural Relevance articulates the expectation that students will explore diverse cultures. As the state mandates that teachers include culturally diverse perspectives, university programs preparing students for a Texas theatre teaching certificate must consider how they prepare teachers to meet these state standards. This article advocates for more diversity in stories and storytelling in theatre teacher preparation programs, examining la Pastorela (or The Shepherd’s Play) as one example of an enduring title in Mexican American communities. Dating back to the early 1500s and first performed in the Americas by Indigenous Mexicans for Spanish soldiers, la Pastorela has continued to endure and evolve throughout the regions where it was first performed. This article offers an historical analysis of how la Pastorela was brought to and developed in the Americas and how it has transformed over the centuries. The article further encourages university theatre programs to recognize this often dismissed critical tradition as one that deserves to be witnessed in order to teach a more inclusive version of our history, at the university level and therefore in K-12 schools.
{"title":"(Re)tracing la Pastorela: Performance, policy, pedagogy and power","authors":"Roxanne L. Schroeder-Arce","doi":"10.1080/08929092.2019.1688744","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688744","url":null,"abstract":"ABSTRACT The Texas State Board of Education has recently approved and is implementing new state adopted standards. One segment of the standards, titled Historical and Cultural Relevance articulates the expectation that students will explore diverse cultures. As the state mandates that teachers include culturally diverse perspectives, university programs preparing students for a Texas theatre teaching certificate must consider how they prepare teachers to meet these state standards. This article advocates for more diversity in stories and storytelling in theatre teacher preparation programs, examining la Pastorela (or The Shepherd’s Play) as one example of an enduring title in Mexican American communities. Dating back to the early 1500s and first performed in the Americas by Indigenous Mexicans for Spanish soldiers, la Pastorela has continued to endure and evolve throughout the regions where it was first performed. This article offers an historical analysis of how la Pastorela was brought to and developed in the Americas and how it has transformed over the centuries. The article further encourages university theatre programs to recognize this often dismissed critical tradition as one that deserves to be witnessed in order to teach a more inclusive version of our history, at the university level and therefore in K-12 schools.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"129 - 138"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688744","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46451585","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 : 2019-07-03DOI: 10.1080/08929092.2019.1688213
Moriah Flagler
ABSTRACT Concepts such as “subtractive schooling,” explain that schools that de-value young immigrants’ perspectives, strip them of their social and cultural resources and make them especially prone to academic failure. Building on the scholarship surrounding critical race theory and applied theatre, this article examines how young people in a Spanish for Heritage Speakers class navigated self and group representation during a digital storytelling residency aimed at disrupting subtractive schooling. I illustrate how digital storytelling as applied theatre positioned the young people as creators of digital media and opened opportunities to recognize their own and each other’s cultural wealth. Through this study, I hope to contribute to the greater systemic change needed to create schooling experiences that build on the knowledges Latinx students bring with them into the classroom.
{"title":"Beyond the “basic stuff”: Authentic caring and digital storytelling with youth","authors":"Moriah Flagler","doi":"10.1080/08929092.2019.1688213","DOIUrl":"https://doi.org/10.1080/08929092.2019.1688213","url":null,"abstract":"ABSTRACT Concepts such as “subtractive schooling,” explain that schools that de-value young immigrants’ perspectives, strip them of their social and cultural resources and make them especially prone to academic failure. Building on the scholarship surrounding critical race theory and applied theatre, this article examines how young people in a Spanish for Heritage Speakers class navigated self and group representation during a digital storytelling residency aimed at disrupting subtractive schooling. I illustrate how digital storytelling as applied theatre positioned the young people as creators of digital media and opened opportunities to recognize their own and each other’s cultural wealth. Through this study, I hope to contribute to the greater systemic change needed to create schooling experiences that build on the knowledges Latinx students bring with them into the classroom.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"107 - 118"},"PeriodicalIF":0.0,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1688213","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48679693","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 : 2019-04-16DOI: 10.1080/08929092.2019.1582443
Cock Dieleman, Veronika Zangl
ABSTRACT Considering the ongoing debates concerning grand narratives and canonical texts it is of interest that several theatre for young audiences (TYA) productions in the Netherlands critically investigated ancient Greek tragedies or national narratives. By discussing the two Dutch TYA productions Iphigenia, King’s Child (1989) and Anne and Zef (2009), the authors focus on the following: first, the image of childhood in recent history; second, the representation of violence, which is often considered unsuitable for children, though frequently inherent in heroic and national narratives; and third, the critical production of historical knowledge as expressed in the two plays.
{"title":"Challenging grand narratives: Performing canonical texts in Dutch TYA","authors":"Cock Dieleman, Veronika Zangl","doi":"10.1080/08929092.2019.1582443","DOIUrl":"https://doi.org/10.1080/08929092.2019.1582443","url":null,"abstract":"ABSTRACT Considering the ongoing debates concerning grand narratives and canonical texts it is of interest that several theatre for young audiences (TYA) productions in the Netherlands critically investigated ancient Greek tragedies or national narratives. By discussing the two Dutch TYA productions Iphigenia, King’s Child (1989) and Anne and Zef (2009), the authors focus on the following: first, the image of childhood in recent history; second, the representation of violence, which is often considered unsuitable for children, though frequently inherent in heroic and national narratives; and third, the critical production of historical knowledge as expressed in the two plays.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"34 1","pages":"106 - 95"},"PeriodicalIF":0.0,"publicationDate":"2019-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1582443","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47640819","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 : 2019-03-19DOI: 10.1080/08929092.2018.1544180
Bethany Nelson
ABSTRACT This article explores the factors influencing extended commitment by urban young people to a community playmaking group. EmersonTHEATRE is a project in its fifth year of creating devised theatre with urban high school students and young adults, primarily of color, around the issues that inform their lives. This article considers the motivations of members who have been in the group for 3–5 years, including those who have maintained their membership after high school and into college. Discussion includes the importance of community, loyalty, power, and a belief in the influence of their performances on self, peers, and audience.
{"title":"Loyalty, longevity and a community of influence: Playmaking with urban youth","authors":"Bethany Nelson","doi":"10.1080/08929092.2018.1544180","DOIUrl":"https://doi.org/10.1080/08929092.2018.1544180","url":null,"abstract":"ABSTRACT This article explores the factors influencing extended commitment by urban young people to a community playmaking group. EmersonTHEATRE is a project in its fifth year of creating devised theatre with urban high school students and young adults, primarily of color, around the issues that inform their lives. This article considers the motivations of members who have been in the group for 3–5 years, including those who have maintained their membership after high school and into college. Discussion includes the importance of community, loyalty, power, and a belief in the influence of their performances on self, peers, and audience.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"139 - 152"},"PeriodicalIF":0.0,"publicationDate":"2019-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1544180","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48162524","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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