Creativity in Theatre by Unknown
Author:Unknown
Language: eng
Format: epub
ISBN: 9783319789286
Publisher: Springer International Publishing
What seems critical about this response is, first, that the student is affirming the effectiveness, indeed necessity, of the verbatim approach of “asking about [people’s] lives.” And second, as Nedelsky suggested, the level of joy experienced is attributable to and commensurate with the degree of legitimacy and agency ascribed to the creative self within a significant relational setting (i.e., in the context of community).
A second strand of documentary theatre, often intersecting and blurring the definition of verbatim theatre is what Ryan Claycomb describes as oral history plays or staged oral history. The illustrious Alex Haley argued that the publication of oral history could operate as a vehicle of hope that spreads a convincing awareness that typically marginalized stories still “happen to be a matter of disciplined documented dedicated truth” (1973, p. 25). Its narrative form, replete with oppositional, non-traditional trajectories and an emphasis on the notion of community over the individual (Claycomb 2003, p. 98), seems well-suited for the agitating creative selves that fill the drama classroom. Year 2 student Brittney (female, Caucasian) felt her groups’ engagement with oral history technique facilitated a creative process that “was really, really special” because it opened the door to the expression of “stuff…they [as students] don’t really like to talk about with other people a lot” and was legitimized and entrenched by the perceived success of “educat[ing]” audiences “who may not understand things that you’re dealing with” (individual interview January 14, 2016). She additionally understood that the communal aspect of the work (“when we were all sitting in circles and groups, just, like, talking about our stories and just being open”) was significant to the outcomes because it not only “brought us a lot closer as a group” but because the trust it engendered facilitated conditions in which she and her classmates could “help them portray their story.” Importantly, for students like Brittney, even the solemn responsibility to engage in the creative act of depicting her classmate’s self, “made me feel good about myself” (emphasis added).
In Year 1, the students developed their verbatim performance work, primarily built from interviews they carried out with peers about their hopes for, and worries about, their futures. In Year 2, the students built their oral history performance work from personal stories shared by classmates, inspired by personal objects they brought into the class. We are not suggesting that all the students felt the satisfaction of self-creation as they journeyed through the prescribed verbatim (Year 1) or oral history (Year 2) curricula, despite their adherence to each style. Some of the less positive reaction may be accounted for by the social pedagogy of the classroom. The students were given a significant and comparatively unusual degree of autonomy in their group work and operated with sparse specific instruction and supervision.15 Though many students saw this approach as a strength,16 it could lead to power imbalances. In such instances, students who had less social privilege and/or capacities, might withhold responses—“I don’t want to go somewhere…I’m not wanted” (Mya, female, Somali,
Download
This site does not store any files on its server. We only index and link to content provided by other sites. Please contact the content providers to delete copyright contents if any and email us, we'll remove relevant links or contents immediately.
The Monuments Men by Robert M. Edsel(1479)
Things Are What You Make of Them: Life Advice for Creatives by Adam J. Kurtz(1445)
The Freelance Manifesto: A Field Guide for the Modern Motion Designer by Joey Korenman(1217)
101 Gag Ideas: Companion to the One Minute Caricature by James van der Keyl(1077)
Find Your Artistic Voice by Lisa Congdon(1048)
Boom by Michael Shnayerson(1015)
The Business of Being an Artist by Daniel Grant(963)
Your Art Will Save Your Life by Beth Pickens(942)
The Lady in Gold by Anne-marie O'connor(936)
Your Inner Critic Is a Big Jerk by Danielle Krysa(930)
Create Your Art Career by Rhonda Schaller(927)
Breakfast at Sotheby's(912)
Seven Days in the Art World by Sarah Thornton(909)
How to Survive and Prosper as an Artist by Caroll Michels(860)
33 Artists in 3 Acts by Sarah Thornton(848)
When Talent Isn't Enough: Business Basics for the Creatively Inclined by Kristen Fischer(834)
Art Held Hostage by John Anderson(822)
Art of the Deal by Noah Horowitz(807)
The Graphic Designer's Guide to Better Business Writing by Barbara Janoff & Ruth Cash-Smith(804)