Pub Date : 2019-01-02DOI: 10.1080/08929092.2019.1580647
L. Høvik
ABSTRACT This article aims to look at core concepts in two artistic research projects exploring interdisciplinary approaches to performing arts for young children (interdisciplinarity can here be understood as integrating knowledge and methods from different disciplines to develop common approaches to artmaking). Playing, improvisation, presence, musical communication, affective attunement, participation, and interactivity are all concepts that are used widely in the field of art for the early years. To be able to reflect on the concepts and discuss how they are used, I give a short presentation of my PhD project, The Red Shoes Project (2008–14), about improvisation, participation, and children´s play in theatre for early years (TEY). In addition, I give examples from The SceSam Project (2012–16), which investigated interactive dramaturgies in performing arts for children. With research perspectives from these two artistic research projects as context, the particle presents and discusses interdisciplinary artistic research methods and the need to find overarching concepts. The concepts work as tools for reflection and can provide insight, from a theoretical point of view, into the artistic works.
{"title":"Becoming small: Concepts and methods of interdisciplinary practice in theatre for early years","authors":"L. Høvik","doi":"10.1080/08929092.2019.1580647","DOIUrl":"https://doi.org/10.1080/08929092.2019.1580647","url":null,"abstract":"ABSTRACT This article aims to look at core concepts in two artistic research projects exploring interdisciplinary approaches to performing arts for young children (interdisciplinarity can here be understood as integrating knowledge and methods from different disciplines to develop common approaches to artmaking). Playing, improvisation, presence, musical communication, affective attunement, participation, and interactivity are all concepts that are used widely in the field of art for the early years. To be able to reflect on the concepts and discuss how they are used, I give a short presentation of my PhD project, The Red Shoes Project (2008–14), about improvisation, participation, and children´s play in theatre for early years (TEY). In addition, I give examples from The SceSam Project (2012–16), which investigated interactive dramaturgies in performing arts for children. With research perspectives from these two artistic research projects as context, the particle presents and discusses interdisciplinary artistic research methods and the need to find overarching concepts. The concepts work as tools for reflection and can provide insight, from a theoretical point of view, into the artistic works.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"37 - 51"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1580647","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49224954","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 : 2019-01-02DOI: 10.1080/08929092.2018.1555103
Rhoda Dullea
ABSTRACT This qualitative case study examines the creative pedagogies employed by artist-educators working with adolescents in the Canadian Opera Company (COC)’s Summer Opera Camp Senior Company in July 2016, at the home of COC in the Four Seasons Arts Centre, Toronto. Artist-educators from a number of operatic production domains joined forces to enable a creative encounter with opera through facilitation of a collaborative composition and performance project among young people with diverse artistic interests and competencies. Methods used in the study included observation of camp devising and rehearsal processes, observation of COC education staff production meetings, one-to-one interviews with educators and youth participants, and administration of short questionnaires to the adolescent participants. Results showed that the instructors developed a “virtual world” of opera production, simulating real-life opera production practices and developing an authentic learning environment in a professional theatre setting for opera novices. The COC summer camp demonstrated the importance of creative participation programmes by arts organisations for connecting young people with professional arts practice at a crucial age, when career choices are being consolidated.
{"title":"Pedagogies of authentic learning in Canadian Opera Company’s opera summer camp programme for adolescents","authors":"Rhoda Dullea","doi":"10.1080/08929092.2018.1555103","DOIUrl":"https://doi.org/10.1080/08929092.2018.1555103","url":null,"abstract":"ABSTRACT This qualitative case study examines the creative pedagogies employed by artist-educators working with adolescents in the Canadian Opera Company (COC)’s Summer Opera Camp Senior Company in July 2016, at the home of COC in the Four Seasons Arts Centre, Toronto. Artist-educators from a number of operatic production domains joined forces to enable a creative encounter with opera through facilitation of a collaborative composition and performance project among young people with diverse artistic interests and competencies. Methods used in the study included observation of camp devising and rehearsal processes, observation of COC education staff production meetings, one-to-one interviews with educators and youth participants, and administration of short questionnaires to the adolescent participants. Results showed that the instructors developed a “virtual world” of opera production, simulating real-life opera production practices and developing an authentic learning environment in a professional theatre setting for opera novices. The COC summer camp demonstrated the importance of creative participation programmes by arts organisations for connecting young people with professional arts practice at a crucial age, when career choices are being consolidated.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"19 - 36"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1555103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47574617","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 : 2019-01-02DOI: 10.1080/08929092.2019.1580648
Adrienne Kapstein, T. Goldstein
ABSTRACT If Theatre for the Very Young is to flourish in the United States, college and professional actor training programs must develop a pedagogy of this genre to prepare future theatre makers. In spring 2017, two professors, one of Developmental Psychology, and one of Acting and Ensemble Creation, co-created and taught an undergraduate, interdisciplinary course, Developing Wonder: Psychology, Theatre, and Children. The course provided a detailed study of the different stages of psychological development from infancy to early childhood paired with an examination of work by seminal international artists making performances for babies, toddlers, and preschoolers, from birth to five years of age. This article provides an overview of this unique course, an analysis of the theoretical foundations and methods used in developing the interdisciplinary course, discussion of challenges in combining theatre studies and psychology, and reflections on the lessons learned in offering this class to college students.
{"title":"Developing wonder: Teaching theatre for the very young through collaboration with developmental psychology","authors":"Adrienne Kapstein, T. Goldstein","doi":"10.1080/08929092.2019.1580648","DOIUrl":"https://doi.org/10.1080/08929092.2019.1580648","url":null,"abstract":"ABSTRACT If Theatre for the Very Young is to flourish in the United States, college and professional actor training programs must develop a pedagogy of this genre to prepare future theatre makers. In spring 2017, two professors, one of Developmental Psychology, and one of Acting and Ensemble Creation, co-created and taught an undergraduate, interdisciplinary course, Developing Wonder: Psychology, Theatre, and Children. The course provided a detailed study of the different stages of psychological development from infancy to early childhood paired with an examination of work by seminal international artists making performances for babies, toddlers, and preschoolers, from birth to five years of age. This article provides an overview of this unique course, an analysis of the theoretical foundations and methods used in developing the interdisciplinary course, discussion of challenges in combining theatre studies and psychology, and reflections on the lessons learned in offering this class to college students.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"52 - 69"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1580648","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41572288","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 : 2019-01-02DOI: 10.1080/08929092.2018.1445688
Pamela Sterling
{"title":"The Alchemy of Astonishment: Engaging the Power of Theatre,","authors":"Pamela Sterling","doi":"10.1080/08929092.2018.1445688","DOIUrl":"https://doi.org/10.1080/08929092.2018.1445688","url":null,"abstract":"","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"89 - 90"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1445688","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49457393","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 : 2019-01-02DOI: 10.1080/08929092.2018.1446860
Edric C. Johnson
ABSTRACT This qualitative study examines non-arts pre-service elementary teachers’ opinions on three luminary drama leaders (Winifred Ward, Dorothy Heathcote, and Augusto Boal), which were addressed in an undergraduate teacher preparation course. Data were collected from final written reflection papers, field notes pertaining to observations and discussions that took place in the course, and a final survey. Data analysis revealed three categories related to why they valued a particular drama leader: (1) confidence in future implementation; (2) real-life preparation; and (3) alignment with linear teaching. Findings suggest supporting pre-service teachers’ initial opinions while considering their past experiences and previous coursework. One implication is for pre-service teachers to critically examine their state curriculum requirements against the national curriculum standards.
{"title":"Theorizing drama education: Non-arts pre-service teachers’ opinions on Winifred Ward, Dorothy Heathcote, and Augusto Boal","authors":"Edric C. Johnson","doi":"10.1080/08929092.2018.1446860","DOIUrl":"https://doi.org/10.1080/08929092.2018.1446860","url":null,"abstract":"ABSTRACT This qualitative study examines non-arts pre-service elementary teachers’ opinions on three luminary drama leaders (Winifred Ward, Dorothy Heathcote, and Augusto Boal), which were addressed in an undergraduate teacher preparation course. Data were collected from final written reflection papers, field notes pertaining to observations and discussions that took place in the course, and a final survey. Data analysis revealed three categories related to why they valued a particular drama leader: (1) confidence in future implementation; (2) real-life preparation; and (3) alignment with linear teaching. Findings suggest supporting pre-service teachers’ initial opinions while considering their past experiences and previous coursework. One implication is for pre-service teachers to critically examine their state curriculum requirements against the national curriculum standards.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"18 - 4"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1446860","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47129097","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 : 2019-01-02DOI: 10.1080/08929092.2019.1603983
Monica Prendergast
I come to the role of Editor of Youth Theatre Journal as a Canadian citizen; I may indeed be the first Canadian Editor of the journal. I live slightly to the north of the longest undefended border in the world. The history between our two countries has been largely peaceful and cooperative, with a few blips along the way (the War of 1812 anyone?) But Canada has long been aware that living next door to its closest neighbour and partner in trade – at ten times its population and with the largest military on the planet – can be challenging. Former Prime Minister Pierre Trudeau once said to an American audience in Washington, “Living next to you is in some ways like sleeping with an elephant. No matter how friendly and even-tempered is the beast, if I can call it that, one is affected by every twitch and grunt” (“The elephant and the mouse”, 2019). Well, since the last Presidential election, Canada has been sleeping with more twitches and grunts emerging from Washington than perhaps ever before. But one potentially good thing about having a Canadian at the helm of YTJ at this point in history may be that, as an outsider, I may bring some alternative perspectives to what is happening. The view across our border is not a pretty one these days, that is certain. Yet it is a far more open and hospitable view than for those who try in desperation to cross the southern border, soon to be a wall. Canada has resisted America’s will in the past; we refused to join the illegal and immoral invasion of Iraq in 2003, for example. And while your President tries to turn the clock of social progress and social justice back to the Dark Ages, Canadians have been able to stand strong behind our shared beliefs in a multicultural society, universal healthcare, abortion rights, public education, gun control, high levels of immigration and peaceful coexistence. We Canadians are not perfect, though! We are wrestling with our shameful history of residential schools, in which Indigenous children were torn away from their families and communities and were subjected too often to physical, emotional and sexual abuse. And in Indigenous communities across the country there remain many problems, including access to basic needs such as clean water. We are struggling with changing our economy from one driven by nonrenewable resources such as oil and gas to renewable and greener options. Our current federal government is committed to addressing climate change, yet recently purchased a pipeline from an oil company with our tax dollars. This pipeline will cross from Alberta to British Columbia (where I live), threatening wilderness, Indigenous lands, and the Pacific Ocean coastline with the dangers of a spill. And in Quebec, which has always had an uneasy alliance with the rest of Canada, the province has brought in legislation that will prohibit any show of religion by anyone working in the public sector, including teachers. This is thinly disguised Islamophobia, but the law will also a
{"title":"Editor’s note","authors":"Monica Prendergast","doi":"10.1080/08929092.2019.1603983","DOIUrl":"https://doi.org/10.1080/08929092.2019.1603983","url":null,"abstract":"I come to the role of Editor of Youth Theatre Journal as a Canadian citizen; I may indeed be the first Canadian Editor of the journal. I live slightly to the north of the longest undefended border in the world. The history between our two countries has been largely peaceful and cooperative, with a few blips along the way (the War of 1812 anyone?) But Canada has long been aware that living next door to its closest neighbour and partner in trade – at ten times its population and with the largest military on the planet – can be challenging. Former Prime Minister Pierre Trudeau once said to an American audience in Washington, “Living next to you is in some ways like sleeping with an elephant. No matter how friendly and even-tempered is the beast, if I can call it that, one is affected by every twitch and grunt” (“The elephant and the mouse”, 2019). Well, since the last Presidential election, Canada has been sleeping with more twitches and grunts emerging from Washington than perhaps ever before. But one potentially good thing about having a Canadian at the helm of YTJ at this point in history may be that, as an outsider, I may bring some alternative perspectives to what is happening. The view across our border is not a pretty one these days, that is certain. Yet it is a far more open and hospitable view than for those who try in desperation to cross the southern border, soon to be a wall. Canada has resisted America’s will in the past; we refused to join the illegal and immoral invasion of Iraq in 2003, for example. And while your President tries to turn the clock of social progress and social justice back to the Dark Ages, Canadians have been able to stand strong behind our shared beliefs in a multicultural society, universal healthcare, abortion rights, public education, gun control, high levels of immigration and peaceful coexistence. We Canadians are not perfect, though! We are wrestling with our shameful history of residential schools, in which Indigenous children were torn away from their families and communities and were subjected too often to physical, emotional and sexual abuse. And in Indigenous communities across the country there remain many problems, including access to basic needs such as clean water. We are struggling with changing our economy from one driven by nonrenewable resources such as oil and gas to renewable and greener options. Our current federal government is committed to addressing climate change, yet recently purchased a pipeline from an oil company with our tax dollars. This pipeline will cross from Alberta to British Columbia (where I live), threatening wilderness, Indigenous lands, and the Pacific Ocean coastline with the dangers of a spill. And in Quebec, which has always had an uneasy alliance with the rest of Canada, the province has brought in legislation that will prohibit any show of religion by anyone working in the public sector, including teachers. This is thinly disguised Islamophobia, but the law will also a","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"1 - 3"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1603983","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43819520","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 : 2019-01-02DOI: 10.1080/08929092.2019.1580649
B. Lee, P. Enciso, J. Sharp
ABSTRACT Educators have long been challenged to support students’ engagement with and comprehension of reading complex texts, including Shakespeare’s plays. Rehearsal room practice (RRP) specifically integrates the rehearsal room processes used by the Royal Shakespeare Company and other ensemble-based theatre companies with active, inquiry-based learning in the classroom. Furthermore, RRP is aligned with a theory of dialogic reading. This quasi-experimental study describes the use and impact of RRPs on high school student attitudes toward reading and perceptions of the value of reading Shakespeare’s plays. Students who experienced RRP while studying Shakespeare’s plays were more motivated, saw Shakespeare’s plays as relevant to their lives, and wanted to read additional challenging texts at the end of the program. Implications for practice are discussed.
{"title":"Walking with the words: Student motivation toward reading and studying Shakespeare’s plays through rehearsal room practices","authors":"B. Lee, P. Enciso, J. Sharp","doi":"10.1080/08929092.2019.1580649","DOIUrl":"https://doi.org/10.1080/08929092.2019.1580649","url":null,"abstract":"ABSTRACT Educators have long been challenged to support students’ engagement with and comprehension of reading complex texts, including Shakespeare’s plays. Rehearsal room practice (RRP) specifically integrates the rehearsal room processes used by the Royal Shakespeare Company and other ensemble-based theatre companies with active, inquiry-based learning in the classroom. Furthermore, RRP is aligned with a theory of dialogic reading. This quasi-experimental study describes the use and impact of RRPs on high school student attitudes toward reading and perceptions of the value of reading Shakespeare’s plays. Students who experienced RRP while studying Shakespeare’s plays were more motivated, saw Shakespeare’s plays as relevant to their lives, and wanted to read additional challenging texts at the end of the program. Implications for practice are discussed.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"33 1","pages":"70 - 88"},"PeriodicalIF":0.0,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2019.1580649","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44701404","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 : 2018-07-03DOI: 10.1080/08929092.2018.1520769
Niccole Carner
ABSTRACT Beginning in 1997, with the devolution of Scottish Parliament, the Scottish people had to re-define their shared language in order to establish what it truly meant to be Scottish. The National Theatre of Scotland uses traditional and native performance styles to build on the shared language(s) of its audience during their theatrical productions. This essay examines three NTS theatre for youth productions as case studies which seek to build Scottish cultural confidence in order to explore the effect of interweaving Scottish performance traditions with commonplace cultural traditions, as a form of language, on the cultivation of Scottish national identity in children and young people.
{"title":"Building national identity and cultural confidence in the National Theatre of Scotland’s theatre for young audiences","authors":"Niccole Carner","doi":"10.1080/08929092.2018.1520769","DOIUrl":"https://doi.org/10.1080/08929092.2018.1520769","url":null,"abstract":"ABSTRACT Beginning in 1997, with the devolution of Scottish Parliament, the Scottish people had to re-define their shared language in order to establish what it truly meant to be Scottish. The National Theatre of Scotland uses traditional and native performance styles to build on the shared language(s) of its audience during their theatrical productions. This essay examines three NTS theatre for youth productions as case studies which seek to build Scottish cultural confidence in order to explore the effect of interweaving Scottish performance traditions with commonplace cultural traditions, as a form of language, on the cultivation of Scottish national identity in children and young people.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"138 - 146"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1520769","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43167523","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 : 2018-07-03DOI: 10.1080/08929092.2018.1529470
T. Bateman, M. Coetzee
ABSTRACT This article explores the ways in which drama-based strategies were used to stimulate critical inquiry into constructs of power, gender and sexual orientation amongst a group of Grade 10 learners. Drama, with its emphasis on the human condition; and drama-based strategies (in specific role-play) with their empathetic, metaxical and metacognitive possibilities, are appropriate means to do so. By referring to learners’ reflections on learning sessions, the article demonstrates how drama-based strategies, used as instructional tools, revealed the ways in which they understood gender constructs and how the sessions fostered critical (if not ontological) inquiry.
{"title":"Dramatizing gender: Exploring gender constructs through drama-based strategies","authors":"T. Bateman, M. Coetzee","doi":"10.1080/08929092.2018.1529470","DOIUrl":"https://doi.org/10.1080/08929092.2018.1529470","url":null,"abstract":"ABSTRACT This article explores the ways in which drama-based strategies were used to stimulate critical inquiry into constructs of power, gender and sexual orientation amongst a group of Grade 10 learners. Drama, with its emphasis on the human condition; and drama-based strategies (in specific role-play) with their empathetic, metaxical and metacognitive possibilities, are appropriate means to do so. By referring to learners’ reflections on learning sessions, the article demonstrates how drama-based strategies, used as instructional tools, revealed the ways in which they understood gender constructs and how the sessions fostered critical (if not ontological) inquiry.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"124 - 137"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1529470","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42416282","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 : 2018-07-03DOI: 10.1080/08929092.2018.1520768
Sarah Woodland
ABSTRACT Although love is rarely addressed in applied theatre and drama scholarship, it is nevertheless often present in participatory theatre practice. The Traction Youth Theatre Ensemble was based in a culturally diverse and vibrant satellite city south of Brisbane, Australia. While I was evaluating Traction’s potential to promote social cohesion, I found that feelings and expressions of love informed and formed the aesthetics of the ensemble process, its ritualized daily practices, and its performances. I argue that love deserves our scholarly attention if we are to continue pursuing ideals of social justice in intercultural participatory youth theatre practice and research.
{"title":"I Love You I Love You: Aesthetics of love in a culturally diverse youth theatre ensemble","authors":"Sarah Woodland","doi":"10.1080/08929092.2018.1520768","DOIUrl":"https://doi.org/10.1080/08929092.2018.1520768","url":null,"abstract":"ABSTRACT Although love is rarely addressed in applied theatre and drama scholarship, it is nevertheless often present in participatory theatre practice. The Traction Youth Theatre Ensemble was based in a culturally diverse and vibrant satellite city south of Brisbane, Australia. While I was evaluating Traction’s potential to promote social cohesion, I found that feelings and expressions of love informed and formed the aesthetics of the ensemble process, its ritualized daily practices, and its performances. I argue that love deserves our scholarly attention if we are to continue pursuing ideals of social justice in intercultural participatory youth theatre practice and research.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"164 - 176"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1520768","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59418855","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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