THEATRE FOR YOUNG AUDIENCES

Week10

THEATRE FOR YOUNG AUDIENCES

The session was led by Dr Dominic. At the being we watched a play and I really liked how the performers where so close to their audience, and at the end of the play the Audince with the use throwing props on the flow

We after used props (object manipulation) like scarfs jackets to make movements and gestures, we used those props to express our emotions. Using our bodies and expression to make believe

Tony suggests That Theatre in education was started with the intention and purposes to coordinate and carefully structure pattern of activities, usually devised and researched by the company, around a topic of relevance both to the school curriculum and to the children’s own lives. This form of theatre is It is drama based, Normally addressing an issue it’s limited to age, more about facilitating while

Theatre for young audience is mostly for entertainment conventional doesn’t use curriculum a different range of groups children are not involved in creating Age groups can be 0 -8 etc .       Despite the difference both practice  involve children
Things to concede while working with children aged between 4-6years

  • using color e.g colorful costumes, stage etc
  • use of familiar stories
  •  entertaining the play needs to be a bit dramatic
  •  Audience participation/interactive, and keep the children engaged visual aids ethical questions and make sure the environment is safe
  •  plan for breaks mostly if running more than a 30mins session

I very much enjoyed the session and would wish to explore more with theatre in education and theatre for young audiences
Reading in Preparation for this session

Greig, N.(2008) Young People, New Theatre – A practical Guide To The Intercultural Process. London: Routledge.

Greig, N. (2005) Playwriting – A practical guide. London: Routledge.

Assignment: précis of readings, journal/blog, research groups

Formative Assessment Task: submit draft essay

 

THEATRE AND REFUGEES

Week 9

THEATRE AND REFUGEES PERFORMANCE

The session was led by Stella Barns a guest lecturer from the oval house theatre (she works with immigrants and youths in training them and they take roles in the market). The youth’s center started in 1990. With now 50 percent participatory theatre

The center offers youths the opportunity to use arts to be hard, arts process is used to address the situation they face and how they can use the situation to change their lives. Current sociality has set a huge gap between rich and poor there is atrocities like bullies etc. Young people get a lot of blames and foreigners are told that they take jobs and the countries benefit

Barns also mentioned that black theatre, gay theatre and women theatre first started at the oval house theatre

We then explored how ethics (right and wrong, respect, having a conscience) are used to explore drama. We learnt that it important to be ethical when doing performing Arts as we might be working with people who have been ignored or marginalized and get judgment and exclusion.

Since we are working with vulnerable people who have been judged we should be able to offer an alternative way of doing things. And always view ourselves as the an alternative voice

I learnt that when dealing with such groups its important to have your own ethical manifesto and ask the attendees to create their own manifestos and everyone follows that for example: Choice, confidentiality, Respect, commitment, Equality,

Required readings in preparation for this session

Barnes, S. (2009) ‘Drawing a Line’ in Participatory Arts with Young Refugees. Oval House.

Suggested readings:

Balfour, M. (2013) Refugee Performance. Intellect.

Balfour, M. (2015) Applied Theatre: Resettlement. Methuen Bloomsbury.

Assignment: précis of readings, journal/blog, research groups

Formative Assessment Task: submit draft portfolio

 

THEATRE AND DEVELOPMENT

WEEK8

Theatre and Development

This session was led by guest lecturer Dr Sheila Preston, she introduced Theatre for Development as a particular practice in Applied Performance. Dr preston referred to theatre for development as apractice used by the west to develop underdeveloped  countries. She explained that Theatre for Development has its own particular history and approaches to practice and has influenced the field of Applied Theatre & Performance. We then explored and criticized different understandings of ‘development’ and ‘theatre’ and how they might be seen; as colonialism, modernization, as ‘counter’cultural, and/or transformational.

Dr Preston used Freire’s theory to explain to us her participation on theatre for development and how she traveled to various countries in Africa funded by the UNICEF. Citing a case study in which she used live performance to combat myths on how malaria is transmitted The use of humor to drive the point was great.  The characters in performance were popular radio presenters and people knew them. This edutainment was great because it used people who are known in the community.

I strongly agree with Frere that applied theatre can transform lives by using theatre to listen to a community. Through participatory and owning the piece. Being influenced by Freire and involving critical awareness as a result

  • Supporting Reading for week 8:
  • Preston and Halpin (2002) A Theatre for Development Programme. Contemporary Theatre Review Vol 12, parts 1+2 p135-160

THEATRE AND PRISON

Clan BreakTHEATRE AND PRISON

Week 7 MORNING

The session was run by Anna Herrmann from the Clan Break, is a company that works with woman offenders in prison and in the community by providing high-quality theatre-based courses, qualifications, training opportunities and specialist rehabilitation support they have produced ground-breaking and award-winning plays which dramatise women’s experience of, and relationship to, crime and punishment. It inspire playwrights around the complex theme of women and crime – enlightening and entertaining audiences

The company was started in 1979 by two famale prisoners who believed that theatre could bring the hidden stories of imprisoned women to a wider audience the company established theatre-based education and training programme enabling women offenders and those at risk of offending to develop personal, social, professional and creative skills leading to education and employment. The work for Clean Break is not only in prison but also in mental health, rehabilitation, creative writing. Their also have a touring company and student support services

 

Anna Herrmann’s session was set up in form of a workshop were we embodied the women, she used any exercise, where she asked us to write the auswers to the following questions :

  1. Rule that you have broken? Lying
  2. 2. Someone you love? My son
  3. Something that you love doing?. treaveling
  4.  A place to go and feel safe? Prayer arae
  5.   How we could feel if the mistake we did we were not allowed to see or have what we loved? “destroyed confused remorseful apologetic”.

The exercise felt so really that it made me relate to the woman in prison right away. She then gave us a script

SUMMARY of the story: Billy was a young woman who had just been released from prison and her return she struggles to find a place to live, as even her own mother doesn’t she is changed, Billy feels she needs to get her life right to be able to protect her younger sister Amber

  1. What is Billy leaving prison? with: Hope
  2.  What problem will she face?: society discrimination
  3.  Something that will help her move forward? Her baby sister

she aske us to create still images with the following. use a sound, a line and a breath.

And in my group we created “Society rejection”

With the execrcise we were able to explore our creativity and imagination and work collaboratively to develop our skills and build confidence.

She suggested that we need to concede the following while working in a prison set up:. Donot reveal personal issues, to keep active, include reflection and keep the purpose clear, be open minded, have a sense of fun and play, patience, being aware of people and respect, confidential space.

 

EVENING

 STOP AND………. LAUNCH

we were joined by the MP of East Ham, Steven Timms, Stratford/Newham Library team, students and other more.  The launch was about connecting the students with a wider/broader understanding of how this project first evolved, originated and was realized and to start connecting students with decision/policymakers,

LAUUNCH BRIEF

“Stop and project the objective is about engaging our students with the new Newham community. We really wanted to make sure we were extending into the community, meeting our neighbours, connecting with the lives and stories of those around us. Project initiated in pilot phase in May and June. We worked with level 4 and 5 students to start collecting some stories. We put out green turf, lawn chairs, balloons, basically a fly trap for children, offered coffee or tea to parents. They stopped. We put down our turf and lawnchairs at Stratford library. And as people came in asked them to share and students collected the stories. And students then created responses to these stories. Prototypes, interactive games, .

“Now we’re extending that project into the actual curriculum. Our level 5 students in the module applied performance have been working with Anada and Hannah in terms of creating a course curriculum that really integrates this into their learning.

“We staged a story collection event at Stratford library and have a website that audio material will be available on. Stopand.org.uk. we hope this project will go into three phases: stop and talk, collecting stories, stop and listen, engaging with those stories, through headphones, etc. then we collect responses and then stop and watch, actually using those material and curating them into an actual performance. Have invited MP Steven Timms in this phase to work with us. Is the concept of employment, which we’ve defined as labour? I hope that as we collect stories, themes will emerge and that the themes might affect Timms’ policymaking on some level.”

READING IN PREPARATION FOR THIS SESSION

McAvinchey, C. (2011) Theatre and Prison. Palgrave Macmillan.

Hermann, A. (2009) ‘The Mothership’ Sustainability and transformation in the work of Clean Break.

Suggested readings:

Balfour (2004) Theatre in Prison: theory and practice. Palgrave press.

Thompson, J. (ed.) (1998) Prison Theatre: Perspectives and Practices, London, Jessica Kingsley.

Assignment: précis of readings, journal/blog, research groups

 

Preparation for stop and launch

Week 6

Theatre and Conflict / Preparation for Stop and … Launch (WEEK 6, 3RD NOVEMBER 2015)

This session was led by our Lecturer Dr Ananda Breed and she had requested we  write in few words  what we understanding by Civic engagement. I could not find  a single meaning to the term civic engagement but from the stop and…..project the closest to me was the  citizens participate in the life of a community in order to improve their conditions  or to help shape the community’s future.it has been practiced by  different ages both younger and older generations.

Ananda defines, Civic engagement is more than the initial snapshot of a student working in a community centre or deciding to vote in a local or national election. Civic engagement is a learning journey by which a person comes to reframe their place in society so that they can more critically, ethically and appropriately work for and with others to make change in society. This can and often does culminate in someone working in a community centre but this action was preceded by a journey of reflection, connection and empowerment that made that action possible. In this framing of civic engagement it is by definition threaded within what, how and why we teach and do research at UEL. (Jennifer Randall)

 

Stop and………….. launch brief outline of the days events

Date: 10th November 2015 as from 7.00 – 8.30pm

Venue: UEL  US 3.02

6:00-7:00     Drama students and staff set up / rehearsals of proto-types

7:00-7:10     Welcome and Refreshments (set up tasks for students. 1) Students in charge of setting up/music/chairs; 2) Students greet guests and introduce speakers – bios in advance.  3) Students work the refreshments table. 4) Students register guests at sign in table. 5) Students down in foyer to greet guests. Students who greet guest to wear their BA Drama, Applied Theatre and Performance T-shirts. 6) Rehearse prototypes with Hannah Nicklin.

7:10-7:20     Overview of the Stop And … Project / Website (Ananda Breed)

7:20-7:35     What ‘civic engagement’ means to me

Students (switching in/out exercise). Additional responses from audience members

7:35 – 7:45 Civic Engagement talk by John Joughin

7:45-7:55     Civic Engagement and Policy-making talk by Stephen Timms

7:55-8:15     Demonstration of student proto-types with initial introduction by  Hannah Nicklin

8:15-8:25     Stop And … Impact on Student Experience

8:25-8:30     Closing Remarks by Jennifer Randall – provide flyers for next Stop And … story collection day at Stratford Library Christmas Fair.

 

Preparation for the day we asked to:

  • Upload edited audio material to Soundcloud using user name stopandproject@gmail.com and password: appliedperformance.
  • Arrive ready to go on 10 November by 6:00 pm in US 3.02.
  • Bring any materials necessary for demonstration of projects / prototypes.
  • RSVP to h.stammers@uel.ac.uk.Reading for next week:McAvinchey, C. (2011) Theatre and Prison. Palgrave Macmillan.Suggested readings:Thompson, J. (ed.) (1998) Prison Theatre: Perspectives and Practices, London, Jessica Kingsley.
  • Assignment: précis of readings, journal/blog, research groups

Stop And … Technical Workshop

TECHNICAL WORKSHOP COMPUTER LAB

WEEK 5

This lecturers was led by Jae Forrester. He gave us a brief of the day’s activities and he then led us to the computer lab. we were joined by another gentleman who assisted to explained what was expected of us in regards to loading the recorded interview  to garage band and editing. they assisted us with whole process and showed how to load it to them onto journal/blog website. It was an interesting experience has to listen to the stories again and again as we edited. The story was so original being from the host; this made me realize what distinguishes applied theatre from other theatre practices, it’s how close it is with reality

I also continued building on the essay’s 1000 words. My topic interest was theatre in education,

  • Required tasks in preparation for session .
  • Transcribe one interview and post onto journal/blog, edit/upload audio recording of interview and any photos/video. Bring audio files into class on 27 October.
  • Assignment: précis of readings, transcribe one interview and post onto journal/blog, edit/upload audio recording of interview and any photos/video
  • 1. Independent Research. Draft 1,000 words towards essay.

ESSAY WRITING/PORTFOLIO SESSION

Week 4(READING WEEK)

STOP AND … (TECHNICAL WORKSHOP), ESSAY WRITING/PORTFOLIO SESSION

This week with Jae Forrester’s assistance we were expected to transcribe edit/upload audio recording of one interview and post it onto journal/blog, alongside any photos/video.  We were also told  to use the help of Library Learning Services & LAA’s  to do Independent Research to structure 1,000 word essay draft that lays out the main points in our argument, outlining our plan inside each paragraph

We were also reminded of the e-portfolio, and its contant the leacturer emphasized that the e-portfolio should interrogate individual learning in class, research group process/performance with reflections project based on linking theory with practice. Include workshops, or other documentation that supports your learning process and précis for the weekly reading

 

Lecturer:

 Reading for this week

  • Prentki, T. and Preston, S. (2009) The Applied Theatre Reader, London and New York,
  • Routledge. (Choose two chapters to read, based on a topic of your choice in preparation for the essay.)

Assignment: précis of readings, journal/blog, research groups

STOP AND… PROJECT

 

STOP AND… TRAINING INTENSIVE

Week 3

The session was led by Dr Hannah Nicklin the first session was held at the Stratford library which involved collecting stories. I was on the set up team so I got to the library early, after setting up . I was paired up with Rose and we approached various people to collect stories which we recorded upon their consent. We start by introducing ourselves, explaining the project, seeking their permission on participation. We also had forms that we gave the participants to sign in acknowledgement of sharing their stories. We used the key icebreakers provided by the tutors and the techniques from the readings

I noted that at the beginning most people were reserved and didn’t think they had a story to tell. However, once they let their gats down they free shared fascinating stories. I was so intrigued by how all the three participants we interviewed seem to share the luck of belonging in the community.

In the afternoon session afternoon was at the campus, we had a debrief, explained/ brainstormed what we would make for the 5th of November launch and then we focused on reflection and feedback on the story we collected. Dr.Nicklin showed us gaming and interactive design that we would concede using in presenting the recorded stories

.

The readings below help me to prepare for this session

Flanagan, M. (2009) ‘Critical Computer Games’. In Critical Play: Radical Game Design. Cambridge: Massachusetts Institute of Technology.

Flanagan, M. (2009) ‘Designing for Critical Play’. In Critical Play: Radical Game Design.

Cambridge: Massachusetts Institute of Technology.

Finkelpearl, T. (2013) ‘Introduction’. In What We Made: Conversations on Art and Social

Cooperation. Durham: Duke University Press.

Assignment: précis of readings, journal/blog, research groups

And watched

http://www.hannahnicklin.com/2013/03/how-can-we-ask-people-to-act/

Figgis, M. The Battle of Orgeave https://www.youtube.com/watch?v=3ncrWxnxLjg

STOP AND… TRAINING INTENSIVE

WEEK 2

Civic Engagement and Methodologies of Oral History and collecting Stories

We started the session with a bit of warm up led by Dr. Ananda Breed and then we were asked to present our group readings. And after the session was co-led by Dr Hannah Nicklin  who will be leading Stop and… project and train us on how to approach people, and negotiate a conversation, and then ask them to share stories of their life with us. In another words she will be guiding us through the Ethics and practices of civic engagement and methodologies of Oral History and personal narratives.

In the session we reversed means of approaching people for example: learning how to listen, reacting to what we listen too, she explained that empathy is key. The audience need to know that they are being listened to, icebreaking question, how to ask them to behave/act and looking out for one another as a team.

In preparation Dr.Niklin gave us topics like “work”, “Newham” and gave us posties and felt pens asked us to write the first thing that came to our mind and we wrote and pasted it on paper. The aim of this exercise was to challenge our perception about the public that we are not any different from them.

We were then allocated groups in Preparation for Stop And … project which was due the following week. We were also given a quick guide on how to use the Audio Recorders

Day plan by Dr. Hannah Nicklin

  • The set up team and one person from refreshments needs to meet me outside 37 at 9am. We will get all the materials and audio recorders.
  • everyone else meets at the library at 30am latest
  • signage/design and refreshment teams will lay out signs/decoration and refreshments ready for 9.45am
  • at 45I’ll put you all in pairs to work together, you will get a clipboard and consent forms/paper to make notes with
  • we will start collecting stories from passers-by in the library at 10am
  • if there is no elders group half of the class will go outside and do street-based collection
  • we will finish at 12:30and tear down and return for 1pm
  • 1 hour lunch break
  • 2-5pmwe’ll talk about the experience and begin work on a small playful individual creative response that will be prototype for the event on the 10th November

 

PRECIS

“The Social Turn: Collaboration and Its Discontents” in ARTIFICIAL HELLS : Participatory Art and the Politics of Spectatorship

In her book Bishop examines the role of participatory art in the contemporary art world, she argues that artistic practice no longer revolve around object construction which are to be consumed by a passive bystander but by proliferation of social engagement

She cites theorists. and asses the historical and theoretical overview of socially engaged participatory art, known as “social practice.” Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes  steps – however small – to repair the social bond and transformation. However, Alongside a spectacle of discourse, advanced art of the last decade has seen a renewed affirmation of collectives  and a denigration of the individual as the economic practice of private property rights, free trade and free markets.

she provides an alternative to the ethical criteria invited by such artworks. In other words she calls for a less prescriptive approach to art and politics, instead for more compelling, troubling and bolder forms of participatory art and criticism references to community, collectively  lost or actualized and revolution are sufficient to indicate a critical distance towards the neoliberal new world order even if a work of art is not directly participatory. by contrast, Individualism is viewed with suspicion especially because the commercial art system and museum programming continue to revolve around lucrative single figures. Participatory projects in the social field therefore seem to operate with a twofold gesture of opposition and amelioration. They work against dominant market imperatives by diffusing single authorship into collaborative activities that, in the words of Grant  Kester, transcend ‘the snares of negation and self-interest’. Instead of supplying the market with commodities, participatory art is perceived to channel art’s symbolic capital towards constructive social change.

INTRODUCTION TO APPLIED PERFORMANCE

 WEEK 1

Participatory Approaches to Engaging public audiences in preparation for the Stop and… project

The lecturer Dr. Ananda Breed used Ausgsto Boal arsenal of game to introduce us to the module main focus: participatory approaches, in regards to civic engagement project (stop and……………) which will be focusing on community engagement. through which students led by Dr Nicklin. (A digital artist who collects personal narratives) in partnership with the Stratford Library would collect stories from Newham.

Dr.Ananda with the use of games, illustrated feeling what you touch, listening what you hear, seeing what you look at as well as using the memory of the senses. To create the flexibility of the perception to easily relate to the community/participants I felt this was the first key guide to community engagement

The highlight for applied theatre is the process, navigation and engagement. Through which it’s made. The embodiment and devotion of the character, it’s made in, with and for the community,

She also led us throw the module aims and objectives, alongside possible definitions/assumptions and concept of applied theatre, sub-topics like: Community theatre, Play back theatre, theatre in education, theatre in prison, theatre and Development, theatre and Refugee, theatre in place of conflict. My key interest is in Theatre in education and theatre in place of conflicts.

For the afternoon session, Dr Sheila Preston was to introduce Applied performance as a discipline and practice. However she was not available. so we watched a video called acting for life by Cynthia the video was about how performance is used in conflict transformation

 

 

 

 

 

PRÉCIS

Applied Drama: The Gift of Theatre by Helen Nicholson

Nicholson focuses more on the word “applied” as compared to “pure”. To what and whom it is applied. And whose valves it serves and represents,

The book details theatre making that takes in different communities n mostly in Britain and across the world. In this chapter, Nicholson uses key examples and performances to illustrate the power of drama in effecting social and personal change

Nicholson suggests that practitioners share a belief in the power of theatre form to address something beyond form itself. Some use applied theatre or Performance in order to promote positive social processes with a particular communitylike: prisons, schools, hostels for the homeless, care homes for the elderly, and on the street.place i, while others employ it in order to promote an understanding of human resource among corporate employees. The intentions of course vary; they could be to inform, to cleanse, to unify, to instruct or to raise awareness. In Nicholson’s words, the term applied theatre has been described in multiple ways during the first decade of the twenty –first century, the new name revived debates about the value and principles associated with participatory form of theatre-making. She points out that the debate most regularly revisited is the relationship between artistry and instrumentalism that has long been a concern across different forms of educational and community-based performance.

she argues that applied theatre is most useful as a term when it is used to put into context theatre making in educational, therapeutic, or community setting instead of defining particular methodology. Nicholson insists that applied theatre is most relevant when used to open intellectual, ethical and political questions about social engagement in theatre practice, when it poses challenging questions and provides critical frames for reflection.

She points out on p.8 that interesting disciplines which customarily use the preface “applied”, often contrast it with purity. As in mathematics, pure mathematics is abstract and theoretical whereas applied mathematics is concerned with using theatrical models to solve practical problems. Though the term applied sounds downgrading, implying that applied stuff is second best, not quite as genuine as the essence. Arguably, applied science has a higher status academically than pure science. This illustrates that methods