appliedtheatreblog

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Critical Evaluation

Beginning our workshop process we collectively decided to explore the theme of Plastic and our oceans after watching Netflix’s ‘Seaspiracy’, released in March 2021. (Tabrizi, 2021) This is a documentary highlighting the effects of human interference in our oceans, it quickly became known to us that this topic is one that should be taught more within our education system, and so our process began….

Due to the slightly serious nature of our theme, we acknowledged it would not be effective to target this to young children, so we decided to have our target audience be Year 7s (11-12 years old) At this age they have started making steps into a wider world and are slightly more cognitively developed. After studying the Applied Theatre world for several weeks, beginning this process we had a substantial amount of knowledge of what constitutes a great workshop, and most importantly, a great facilitator. We started thinking about our introduction and warm up and arrived at our objective ‘Time for participants to introduce themselves, and for us to introduce our theme and create a safe workshop space’. We were informed of the idea of a safe space by author Chris Johnson in House of Games-making theatre from everyday life. When writing about icebreakers, he comments ‘Skills are developed at the very moment a person is having all the fun and excitement playing a game has to offer - this is the exact time he is ready and open to perceive them’ (Johnson, 1998, 48) This helped us prioritise creating a safe environment as Johnson is stating that steps need to be made to break down barriers, and fun and energy are the driving force. 

When speaking about the importance of games in Laying the Foundations, facilitator David Kelly writes ‘“They gain the security of knowing that they are valued members of the group. They realise that their opinions matter and that their contributions and feedback are essential to the growth of a group” (Kelly, 2014, 01) This definitely inspired us to focus on delivering a very immersive warm up game, creating a safe environment and emphasising the ensemble feel. We decided we would start our workshop with a simple ice breaker and ask participants to tell us their name and favourite aquatic animal, adding a sound and movement to represent that. We tried this during lesson hours and it proved to be a very entertaining game for all. There was laughter, students encouraging each other with sounds/movement, and most importantly, our participants had broken down that first wall of defense whilst also being introduced to our topic. The main activity was probably one that we struggled with the most, we struggled to introduce drama into our theme without it being too fact-heavy. At first we experimented with tableaux, in the form of three (positive,negative and drive for change), this seemed to be quite restrictive as we realised there aren't actually many emotional layers in our theme. It was when our lecturer suggested the possibility of creating a short commercial that  we had a major breakthrough. In one of our practise sessions we asked the group to create short commercials against the human effect on our oceans. Listening to participants' feedback we were able to tap into a shared feeling of  negativity within the scenes, yet if they were slightly more positive it may be more effective to a wider audience. We decided to modify our activity to change the narrative, and to our surprise the participants created lovely scenes that utilised their new knowledge and reflected what they set out to achieve. Ahead of assessment day, we decided to settle on a campaign creating task, utilising a narrator, then switching the narrative in order to tap into any creative breakthroughs. 

The Day

Assessment day came and my group and I delivered what I believe to be an engaging and energetic workshop. With plenty of participation and free thinking, we were able to create connections between our participants and their roles in the protection of our oceans. Our games were high energy whilst also encouraging learning new skills and were in life to apply them. Unfortunately, we had a problem on the day when it came to timing, which if i were to begin this process again, I would pay more attention to. It is so critical that participants have ample time to make decisions and test their personal creative limits, however the way our workshop was structured led to a slight prevention of this. Most of our games were participant led in nature, meaning we gave them a task to be completed and we finished that task when they were done. This was not good, not only did it mean participants were taking their time as they had no structure, it meant time was being stolen from the main activity, naturally being the most important. In House of games, when speaking of fixed and free elements of a workshop, Johnson writes - “Should fixed elements be abandoned, safety may be jeprodised” (Johnson, 1998, 27) This statement is a reflection of the mistake we made to abandon time restraints, the fact our participants had less awareness of time limits, meant they used the time more sparingly, and in return did not develop any skills of team building under pressure. A final aspect I would change to our workshop would be the choice of cool down, due to our issue with timing our cool down was relatively non-existent, however I would still argue given enough time to fully orchestrate our planned cool down, it was not drawing on what our participants had learnt. In the BigFoot Arts handbook, I noticed a lot of the cool down examples had participants either laying down or closing their eyes. This initially inspired us to ‘transport’ them to a calm beach in our near future, however I do feel possibly a cool down such as ‘Conscious Ally’ (Bigfoot,2013) ,an exercise where the participants would whisper their feelings about the workshop to a facilitator walking around the room, would create a final safe space of reflection rather than just a cool down restricted to verbatim, ‘cooling down’. In closing, our workshop was not perfect, but as first time facilitators, I strongly argue we used our new knowledge effectively to create an immersive and safe space for our participants to learn about a difficult topic, whilst inspiring creative breakthroughs, something I would argue is what constitutes the great world of Applied Theatre.

Bibliography 

Tabrizi, A.,2021. Seaspiracy [Film]. Netflix:Disrupt Studios. Available at: www.netflix.com [Accessed 23 May 2021]

Kelly, D., 2014. Laying the Foundations: A Guide to Youth Drama Facilitation. National Association for Youth Drama 

Johnson, C., (1998).’ House of games: making theatre from everyday life.’ London:Nick Hern Books.

Arts, B., 2013. BF-GAMES-HANDBOOK. [Online]Available at: http://bigfootartseducation.co.uk/app/uploads/2020/03/BF-GAMES-HANDBOOK.pdf?utm_source=BIGFOOT+ARTS+EDUCATION+MAILING+LIST&utm_campaign=b148d91b1f-AUTOMATION__1_COPY_01&utm_medium=email&utm_term=0_1caf8ec028-b148d91b1f-219548422   [Accessed 20 May 2021]

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Poetics of the Oppressed

1. What specifically stood out for you in the Boal reading? ( Give 2 examples. Be specific) What is your response to that? (Did it make you think about something - if so, what? Did it raise questions for you - if so, what are they?)

The first thing that stood out to me was in fact the very first sentence, Boal writes ‘In the beginning the theatre was the dithyrambic song….later ruling classes took possession of the theatre and built their dividing walls” (Boal, 2008:95) This resonates so heavily with our education system that inherently dismisses theatre in order to favour STEM subjects. This is metaphorically the ��dividing wall’ between theatre and education, theatre is often seen as not relevant today and having no educational value, even when it is incorporated it is largely shakespearean content which to some extent is quite outdated for the 21st century. My point here is that because of intrusion from higher powers, theatre at its birth was inaccessible to those without wealth and nowadays is seen as an inaccessible artform, intensified by high prices to access and falling foul to Freire's Banking Model of Education. My opinion here is not only inspired by Boals depiction, but also the Ted Talk ‘Do schools kill creativity’ by Sir Ken Robinson. In this talk he highlights how restrictive the education system is, in a very similar way to Freire, he comments ‘We are now running an education system where a mistake is the worst thing you can make, and the result is that we are educating our children out of their creative capacities” (Robinson,2009) As someone who is constantly trying to express the importance of theatre, reading these people use their platforms to speak of such a vital modern problem, gives me hope that one day we will break free from the restraints put on us by those with the power to do so. 

Another thing that stood out to me was Boal’s insight on how images as symbols, such as exploitation for example, may not have the same meaning to a group of oppressed people. In this example, Boal talks about how a young boy in Lima portrayed a nail in the wall as a symbol of exploitation. The image was instantly recognisable to the rest of the group meaning it held symbolic power, however people in a more privileged position would not see the connotations of this symbol, rather would be wondering why they are not seeing exploitation as something like a bad landlord or minimum wage. This shows how depending on the cultural context of a group, interpretations will always be different. This led me to think are symbols really universal if everybody sees them differently, or are symbols subjective to us? Boals states ‘A symbol only functions as such if the meaning is shared’ (Boal,2008:101) which brings me to the conclusion that living in a world of global austerity and varying lifestyles, eliminates functioning symbols.

2. What can we learn from Boal's experience with the man's picture of home on pg 100?

Boal’s experience here firstly and formly teaches a lesson on what we can learn as empathetic humans, the story of a man recalling his image of home not only shows the bridge in human quality of life, but also shows the emotional power a  facilitator holds in being able to receive such a raw story being shared. It is also a very powerful moment of facilitation, as before the participant was able to share his interpretation, it was assumed he approached the task wrong. This is a great example of the fact that it is very important for a facilitator to accept everything that a participant has to offer, even if it is confusing at first. This is often hard if confusion is an overarching emotion, but remembering Prestons advice to ‘attempt to understand the moments that emerge for us- in their complexity, messiness and difficulty’ (Preston, 2016, 29) enables the most insightful breakthrough in the end. 

3. Please explain Boal's first two sections (1. Knowing the body, 2. Making the body expressive) briefly in your own words.

‘Knowing the body’ is Boal’s first step to transform the spectator into the actor, it entails getting to know the muscular limits and possibilities of the human body. It also encourages the actor to face its own social distortions and needs for rehabilitation. By getting the actor to address the components of its body the role it plays, it disconnects them from reverting to creating characters that mirror themselves. ‘Making the body expressive’ is a way to abandon physical limitations of expression, such as a daily role played within the societal realm, and place their body into the muscular structure of a character. A series of interactive games are played, each targeting the dismantling of habitual forms of expression and encouraging less dependence on verbal communication, opening a door to new found dramatic expression. 

Bibliography 

Freire, P., 1970. Pedagogy of the Oppressed, New York: The Seabury Press

Preston, S., 2016. Facilitation: pedagogies, practices, resistance. [ebook] London: Bloomsbury Methuen Drama. Available at: <https://www.vlebooks.com/Vleweb/Product/Index/892216?page=0&gt; [Accessed 1 March 2021].

Robinson, K., 2006. Do Schools Kill Creativity?https://www.youtube.com/watch?v=iG9CE55wbtY [Accessed 1 March 2021]

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Pedagogy of the Oppressed

1. What does Freire mean by the Banking Model of Education? Please be specific 

The Banking Model of Education is the idea that students are empty containers in which teachers deposit their knowledge, in other words,students are oppressed within a system that keeps them in a designated space, without chance for free thinking. Freire comments that within the model “The oppressed, having internalised the image of the oppressor and adopted his guidelines, are fearful of freedom” (Freire, 1970: 31) The banking model prohibits individuality meaning students are limited to only receiving and digesting information rather having freedom for thought. The ‘guidelines’ that Freire talks about here are the roles of the oppressor (teacher) and the oppressed (student) and how just by being in place, students are unable to ‘develop the critical consciousness which would result from their intervention in the world” (Freire, 1970:60) This model leads me to believe that an education system littered with such restraint, leads students to enter their adult life silent to the injustices and wrong doings around them. 

2.  Have you had experience of this type of teaching, how do you feel about it? If you have not, how do you think you might feel about it?

 I have been lucky enough to attend several schools throughout my education and experience several vastly different models of education. However this question sends me straight back to GCSE History class. I remember 60 whole minutes of writing down exactly what was above me on the board, word for word. And although History is a precise subject in its nature. I remember the toll this model of education took on 15 year old me, not only would I leave that class, drained, depressed, and totally uninspired. I slowly started to feel a hatred toward a subject that I once loved. This not only made me lose inspiration to succeed in this subject, but also led me to seek out a more engaging and rewarding form of information. That is when I found A-level Drama. I had not studied drama up until this point, merely just performed my whole life (which come to think of is probably the main factor of my rejection towards the banking model of education) but I wanted to spend my time learning about something creatively freeing, I was not disappointed. Drama was a way to apply my twist on anything and everything, every line in a play was up to my interpretation and no was not an answer.  These two modes of education are polar opposites, yet the most an interesting part to me is that academic education like the model I described is favoured in our system, a model that leaves students uninspired and relies on memory skills over freedom to intervene. Freire states ‘Liberating education consists in acts of cognition, not transferrals of information” (Freire, 1970: 67) Dismantling the Banking Model of Education would develop cognitive strength and prepare students for the world they will enter after school, something that would have liberated 15 year old me. 

3. How do Freire's ideas relate to Preston's ideas of critical facilitation?

Both Freire and Preston present ideas that education is something that occurs for both the students and teachers and that a submissive learning dynamic such as the Banking Model of Education is damaging to our youth. Preston encourages the idea of a liberal educator who caters her approach to education according to the social and cultural context of their group, emphasizing further how everybody requires different terms and conditions to be educated. I look back to a comment by Preston that has stuck with me, she said - In the light of our presence, we need to attempt to understand the moments that emerge for us- in their complexity, messiness and difficulty- without letting our ego result in an unwitting reframing of the work around our sensitivities and sensibilities’  (Preston, 2016, 29) I find this a direct opposite of the Model that Freire describes, where Preston is presenting the idea that a teacher must be liberating and in touch with values and systems of their group without their personal perception getting in the way, Freire comments on the overarching polar opposite system in place that devalues this mode of education, ultimately destroys personal development and opportunity. 

Bibliography 

Freire, P., 1970. Pedagogy of the Oppressed, New York: The Seabury Press

Preston, S., 2016. Facilitation: pedagogies, practices, resistance. [ebook] London: Bloomsbury Methuen Drama. Available at: <https://www.vlebooks.com/Vleweb/Product/Index/892216?page=0&gt; [Accessed 1 March 2021].

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The Six Polarities

In your own words discuss what Johnson means by the six polarities 

In House of Games-making theatre from everyday life, author Chris Johnson explains his theory of the Six Polarities of community theatre. This is the idea that community drama can be defined by six key polar relationships. These relationships are all two polar opposite elements, that are dependent on each other and can not function without each other. A simple example of this is the relationship between an audience and performers, they can not function without each other and in one's absence, the other can not carry out their function. The six polarities that Johnson outlines are as follows-

1. The Fixed and the Free- This is the balance between the fixed conditions and the free conditions of the workshop medium. It explores the idea that freedom in a workshop environment is brilliantly effective in the introductory stages, getting participants moving and breaking down barriers. Moving on from that, it is then extremely important to start adding structures to those freedoms in order to keep the pace up and inspire energy and creativity. The transition from Free to Fixed enables participants to feel safe when entering a more challenging exercise. Therefore both of these elements rely on each other heavily, providing a safe transition into a more demanding environment.

2. Surface and Depth- The idea that you must analyse the surface of an         element closely, in order to delve deeper into what is beneath the surface.         These two are polar opposites as without the surface there would be no           depth, and vice versa. Analysing both the surface and the depth equally,           provides a large scope for material, and provides stimulus that would not           be as accessible if the depth was not accessed.

3.Centre and Edge- This introduced the Circle Analogy, something that          particularly interested me, and this is the idea that we as a society are led          to believe that ‘The edge’ of the circle (society) is somehow lesser than the        centre. Johnson explains that this is not the case, yet instead the edge is          where life is and if we want life in the centre, it must come from the edge.          This is applicable to community theatre settings, in a workshop it is                    essential that everyone feels a part of the centre. However there are often        doubts that exist in the group, and people will place themselves at the                edge, where they feel they belong. It is the job of a facilitator to then bring        them back to the centre and encourage them, reducing their destructive            potential. 

4.The Individual and the Collective- Individuality is important in Theatre,       being able to think on your feet and develop ideas alone is a great skill to         have. However, Johnson argues that the best way to develop that                     individuality is to find your feet in a group setting. Gaining teamwork skills         aids individuals creativity, giving them a platform to think freely on their            own.These are two polar opposites in a working relationship, playing vital          parts in the function of one another and aiding participants in developing          skills for both teamwork and individuality.  

5. The Performer and the Audience-The two co-existing functions, that work mutually to make theatre. One would not be one without the other. Community theatre workshops will analyse specific qualities that are associated with each role, this helps participants understand their vital contributions to the world of theatre. When participants enter a workshop, they have the fear of being the performer rather than the audience, this makes them self-conscious. If the facilitator creates an environment where there is no audience, the self-consciousness is eliminated.

6. The Simple and the Complex- This idea looks at the natural progression in theatre from simple exploration to complex. To explore this theory further, Johnson uses the example of the function of games in community theatre. He explains that games have a very important function in developing skills by slowly increasing the level of difficulty in order to make things more challenging for the participants. Johnson quotes the following statement-

‘Skills are developed at the very moment a person is having all the fun and excitement playing a game has to offer - this is the exact time he is ready and open to perceive them’ (Johnson, 1998, 48)

This communication of how important games are in developing willingness is extremely interesting whilst also telling about the integral nature of the journey from simple to complex in workshops. It shows how freedoms are uncovered as things get complex, as participants think freely rather than following rules.

Each of these are examples of elements in theatre that have direct use for one another, and there is always a creative journey an individual will take when developing their skills from one polarity to another. 

Choosing one of the polarities name a situation where a facilitator might encounter one. 

All of these polarities are extremely likely to naturally appear in a community theatre setting, whether that is through the nature of the work a facilitator is providing, or through resistance a participant presents. I am particularly interested in the polarity of the fixed and the free and will be exploring a situation in which this polarity may make itself present. When beginning a workshop, a facilitator will start with a simple game which does not challenge participants further than the fun and excitement realm. When things start to build up and everybody's feeling warm, a facilitator will bring in extra elements to insert meaning to that frame. Johnson uses the example of inserting themes, restrictions and objectives. For example, a simple character creating game could be intensified by adding the restriction of ‘No speech’. This introduces a clear structure to the game and seamlessly transitions the easy tasks into something more energy reliant.  This introduction of fixed elements actually gives participants more freedom to think creatively and the facilitator can then structure their workshop after closely inspecting the learning style of their participants. Another example of these polarities is the necessity of establishing fixed rules at the beginning of a workshop. Participants may enter a workshop with a preconceived idea of how they are going to behave and what roles they will portray, these can oftentimes create a negative atmosphere and make others feel unsafe. Adding fixed rules from the start makes for a positive working environment that eliminates the possibility of any participants placing themselves on the edge of that circle due to self-consciousness. Johnson writes “Should fixed elements be abandoned, safety may be jeopardised” (Johnson, 1998, 27) This includes the safety of the group, the individual and the facilitator, rules must be in place to create a blank canvas, ready and prepped for the creative engagement that is to come.

Take one of the exercises from the session with the University of Ulster students and discuss where you noticed any of the polarities in operation.

The workshop with the University of Ulster students was an all round interesting and engaging session that saw the sharing of icebreakers of varying natures and levels of difficulty. A particular exercise that stood out to me, and my classmates, was an imagination exercise where we were asked to explore our rooms in depth, describing and analysing features that stood out to us. When the exercise progressed, the facilitator proposed elements to us such as the following- ‘“Snow has begun to fall from your ceiling, how does that make you feel?’, ‘A tiny puppy has appeared on your bed, describe it to me’ ,‘A circus has appeared outside your window, what can you see?”. These elements were extremely helpful in the exploration of my space, I began to explore the dimensions and details thoroughly and see it through a different lens. This exercise was a perfect example of the Surface and Depth polarity. On the surface, the challenge to explore my space seemed limiting, I already knew this space, I live it every day. However, when the facilitator inserted that stimulus of added elements, I had more creative opportunity to explore freely and non-restricted. I would also argue this exercise saw a glimpse of the Simple and Complex polarity. Initially, the task was simple, easy to grasp. When the extra elements were added, things got more complex and that natural journey from simple to complex was the unlocking of a challenge that was creatively freeing for all.

Bibliography

Johnson, C. (1998).’ House of games: making theatre from everyday life.’ London:Nick Hern Books.

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Laying the Foundations: Facilitation

Is a game ever just a game in Applied Theatre?

Applied Theatre, in whichever form it may be, utilises games as a primary way to break the ice and create a safe space. A game is never just that in Applied Theatre, it plays an essential role in the workshop medium, encouraging participants to step beyond their comfort zone and let their creativity and boldness run wild. When first meeting a group, a facilitator will use a game to break the ice and get to know their group. They will often start simply with a fun game which requires little cognitive engagement, but then increase in difficulty as barriers are broken down with the group. This process eases participants into the world of a workshop, and makes them feel comfortable to think creatively within the ensemble.  

“They gain the security of knowing that they are valued members of the group. They realise that their opinions matter and that their contributions and feedback are essential to the growth of a group” (Kelly, 2014, 01)

What Kelly is saying here is that by making participants feel comfortable and valued, you unlock another layer of creativity that allows those to contribute who would normally stay away from this realm of work. This shows how powerful game playing can be, by giving participants the opportunity to step out of that box, they can discover a world where their voice is so valued and integral to a process, and the cultural context of a lot of participants would mean they had not experienced the feeling of being valued before. Game playing also proves to participants that the fear of ridicule does not exist in the Applied Theatre world, knowing this fear has been extinguished in the initial stages, encourages participants to carry on through full force, all thanks to their new found confidence through the initial game playing. 

How would you describe the role of a facilitator?

An Applied Theatre facilitator has a very complex job with a longlist of skills required to successfully facilitate. They must devise a workshop, tailored to the specific needs of the group they will be working with and create a rhythm that combines energy, focus and concentration. It is essential the combination of these three elements flows perfectly, in order to keep participants properly engaged and to fight the conflict of resistance. David Kelly outlines the following skills essential to a facilitating job:

Energy

Focus

Concentration

Timing 

Clear instructions 

Specific warm up (focus on voice, body, etc…)

Applying relevant rules

Feedback (opening up discussion) 

Energy is especially important because as Kelly explains, it is ‘the fuel of a workshop’. The energy levels are completely in the hands of the facilitator and they must raise or lower those levels whenever the mood or context requires so. Energy is also something that is mirrored by the participant in reflection of the facilitator. It is important as a facilitator to analyse the mood of the group closely to make an educated decision on what your energy levels should look like. A great facilitator would be able to adapt their energy levels fluidly, matching the participants in order to eliminate any power struggle and create equality. 

We also read of the importance of Observance for a facilitator. Oftentimes, participants tell us their inner thoughts just through their mannerisms. A good facilitator will be able to spot signs such as day-dreaming, staring at the floor and folded arms in a timely manner and notice that participants displaying these signs may be dis-engaged or unfocused. The next step would be to refocus the participants, offering them something fresher and more tailored to them.

What is the purpose of feedback in an Applied Theatre session?

Feedback is extremely important in an Applied Theatre session, it offers participants a chance to reflect on new discoveries and find common ground with others on their feelings about the creative process. It is so essential to remember that if we are facilitating a group who are unfamiliar with theatre, they will have many questions and queries about this new form, by not leaving time for reflection, participants would question the process with doubt. They may ask themselves questions such as ‘What was the point in that?’ ‘How is that relevant to me?’ ‘Could I even use that in the real world?’. As a facilitator, those questions are so important to address, the hard work of facilitating would become redundant without the opportunity to ask ‘Why?’ to your participants. Feedback and reflections offers a chance to delve deeper into personal discoveries, which often occur during an Applied session. For example, in Education Theatre settings, the opportunity to offer feedback and questions is essential because it tests the participants to reiterate what they have learnt, and how their new knowledge has affected preconceived beliefs they already had. This is great because hearing those words vocally, instead of solely just in their own heads, solidifies the information and creates an ensemble feeling between the group as they are all experiencing the same process of education. 

 Feedback can also be a huge learning curve for resisting participants because it is an opportunity to learn to respect different opinions. Applied Theatre sessions would very likely see a range of opinions, this is because opinions that are present at the beginning are all vastly different, therefore the journeys those opinions go on would most likely still differ. A room full of different opinions would teach participants just how interesting it is to visit a subject from the eyes of someone else's opinion, encouraging them to listen and respect others views in the future. Kelly writes the following poignant statement-

‘The group will develop through reflecting on and learning from mistakes. The group will be empowered to find alternative solutions to problems within the work. This will increase their problem-solving abilities, and help their development as an ensemble’ (Kelly, 2014, 14)

This perfectly sums up why feedback is so important, because not only is it essential to the growth of a participant, it is essential to the growth of a facilitator by showing them deeper understanding of different types of personalities in Applied Theatre settings, and how to encourage them to participate to the best of their abilities. 

Bibliography

Kelly, D. (2014). Laying the Foundations: A Guide to Youth Drama Facilitation. National Association for Youth Drama.

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Geese Theatre

Describe in your own words Geese theatres' key theories.

Geese Theatre focus on the rehabilitation of offenders through the medium of Drama and Theatre. This has been proven to develop social consciousness, self control, self-esteem and responsibility in offenders, deterring them from crime again. Geese have three key theories that they apply when facilitating their participants, all of which encourage them to think deeper into their thinking and feelings and evaluate the person they really are underneath how they portray themselves. 

The first theory we learn about in the Geese Theatre handbook is Social Learning Theory-

This is using social interactive intervention to facilitate a new skill for the participants. It uses a process of applying a specific skill, so that once all the steps have been completed, participants should have successfully acquired that new skill.

The steps are as follows:-

Assessment/Self Assessment- Teaching what a specific skill requires to be successful e.g- Teamwork requires trust.

Instruction- Recommended procedure to follow for practising that skill. E.g practising teamwork would involve several team building exercises, showing participants how to operate as a contributor towards a team.

Modelling- Facilitators giving examples of the skill, this would normally include how NOT to approach the skill.\

Multiple Practise- Practising the skill whilst increasing difficulty and realism each attempt.

Testing- Testing the skill and giving appropriate feedback, where positive reinforcement is essential in encouraging participants to stick with the process.

Real world practise- An opportunity for participants to practise this skill in their everyday life.

When Geese talk about why this sequence is so important, the following is quoted-

“The sequence offers an important conceptual framework for helping participants to develop new skills in a conscious and structured way” (Mountford et al. 19)

This shows how offering this process would leave an impact on participants, asking them exactly why each skill is important and would benefit them daily leaves an impact which would hopefully lead them to approaching situations better in the future.

The second theory is called Cognitive- behavioural Theory

When I first stumbled across this I had a reasonably wide understanding of what it entails. This is due to the fact that Cognitive Behavioural Therapy is used very often in modern day as a psycho-social intervention to treat mental health, it challenges any cognitive distortions and helps to develop personal coping strategies, improving people's control over their emotions. Geese Theatre uses drama as a vehicle through this theory to challenge and explore the beliefs and attitudes of offenders that may lead to them displaying anti-social behaviour. 

Geese explain that offenders often unknowingly place themselves in habitual cycles, which are self-sabotaging and often lead to offending behaviour. By using drama to facilitate this change, Geese starts a conversation which asks ‘Did your choices affect you positively?’ Most of the time that answer is no. They will then ask “What can we do next time to prevent negative outcomes due to personal actions?’ 

They use the example of exploring a victim's experience on the receiving end of antisocial behaviour. They would create a scene in which somebody would play the victim of something like Robbery, this would help by showing that other people are becoming hurt by their actions, holding them responsible for their actions. 

Geese also explain that offenders often have the fixed vision that they are a victim to the system- and other people should feel the pain they do. This is a belief of self-sabotage as they can end up incarcerated due to the extent of their actions, modifying this belief so that offenders feel empowered by opportunity of personal growth, often leads to less offenses in the future.

 The final theory is called Role Theory-

This is the idea that we all play a role in society, and that we have total control over how we play roles in our lives. Role Theory is a way Geese can identify skills and roles that offenders could benefit from developing.

They say -”Role Theory observes how we all play roles in our lives which generate behavioural archetypes associated with that role in any given context.” (Mountford et al., 2002, 19)  

This communicates how offenders often stick to a role that does not benefit them, for example, young offenders can present themselves as incapable of work (even when they are) because they feel like nobody would hire them. This is them intentionally placing themselves in an unemployable box, Geese’s role theory  would come into play here by using drama to teach different job roles to offenders. Such as, the role of an employee, which would benefit them by teaching the behavioural archetypes of succeeding and retaining a job. The biggest message Geese are portraying here is that personal roles are dynamic and can be consciously chosen to benefit your quality of life.

What specifically stood out for you in the Geese theatre reading? (Give 2 examples. Be specific. Did it make you think about something - if so, what? Did it raise questions for you - if so, what are they?)

The first element of Geese Theatres practise that stood out to me, was the concept of ‘The Mask’ this is a metaphor for analysing the inner processes that support the roles we play. It is essentially the ‘front’ we portray to the outside world. Geese attempt to ‘lift the mask’ and go inside the heads of offenders to uncover hidden thoughts and attitudes. This eventually leads to behavioural change as it proves that their inner process leads them to offensive behaviour, challenging the conflict right at its core. What particularly stood out to me, was when it stated that participants would often practice this concept on a fictional character. I think this is such an interesting practise as it shows participants that this can be practised on everyone, meaning people probably perceive them in a way where they believe they are not conducting themselves authentically. I had a think about the character of ‘Javert’ from the musical ‘Les Mis’ and attempted to analyze the hidden thoughts there. This was very interesting to me as it allowed me to see that charter through a deeper lesne, and understand the behaviour that occurred as a result of the inner thoughts. Javert-

Presents himself as a powerful and lawful man, hungry for social justice. Blinded by this and unable to see the good that ex-villain Valjean does for the community. Inner thoughts- disappointed in previous failings to catch Valjean, frustrated he failed his life missions. Feels as though he has nothing else to live for.  The result of this inner process was his ultimate demise. However the chance to analyse those inner feelings, may have led to an emotional breakthrough that could have eventually prevented the dark end to his life. 

Although this may be considered a far fetched evaluation, I can confidently say that I understand why completing an exercise like this would make an offender feel more able and comfortable to analyze themselves with intention to change their damaging inner processes. 

Another concept that I was particularly interested by, is the section that focused on working with resistance, particularly ‘Responding to Resistance’

Geese explain how oftentimes offenders are very resistant to participate in drama because of a fixed idea they have that drama is ‘Silly’ and ‘Just childrens games”. Although this resistance is a difficult bridge for a facilitator, Geese explains how it is important to ask yourself ‘What is causing my person or group to feel resistant or afraid?’ and then ‘How can I modify my approach to accommodate this?’ Offenders often don't want to be tricked into becoming vulnerable, a great facilitator would respond to this fear by ensuring the practise would be entirely based around their boundaries. What particularly intrigues me was that facilitators can utilise resistance to their advantage, participants who are particularly resistant and are seeking out to sabotage the group are often seeking an outcome that works for them in that situation. In this instance, facilitators could respond to the participant in a conversational manner, giving them a response they were not expecting. This encourages new energy and tension into the group, which can be interesting for the participants as it demonstrates how conflict and interpersonal tension can actually lead to creative solutions, not just a power struggle which is more than likely what they are used to.

How does the work of Geese theatre company join up with the wider world of Applied theatre and the idea of dominant narratives?

Geese Theatre company are a perfect example of an Applied Theatre company, they work with marginalised groups in modern society and instigate a conversation that leads to social change. They utilize many techniques that other forms of Applied Theatre do, all of which centre around the voices and capabilities of those in spaces where mainstream theatre doesn't normally exist. The idea of ‘dominant narratives’ is a pattern I would argue is present in many forms of applied theatre. A dominant narrative is the dominant social argument applicable to certain social groups or events. An example of this in relation to Geese Theatre is that offenders don't have the capability to change and are the poison that must be controlled in our society. Another example of this looks back at my first blog post where I explored the Theatre and Health company, Target Theatre. This is the company that explores the views on the elderly in our society and the hidden fears they face. The dominant narrative this company takle is the idea that Elderly people have less to contribute to our society as they are not as physically and emotionally available as the younger generation. Both of the dominant narratives I have outlined above are particularly ruthless, but the function of Applied Theatre in relation to these narratives is to inspire that social change that is so desperately needed, yet this form facilitates that change in a marking and inspiring manner.

Bibliography 

Mountford, A., Brookes, S., & Baim, C. (2002). The Geese Theatre handbook. Waterside Press.

[appliedtheatreblog]

Critical Pedagogy

1.  What is meant by the term critical pedagogy?

Through reading Applied theatre: facilitation: pedagogies, practices, resistance by Sheila Preston, I have learnt that a Pedagogy is a specific approach to teaching. Most forms of Applied Theatre facilitate using a particular pedagogy, which often aim to achieve a different outcome or realization for the participants. A critical pedagogy however is completely different and combines many different elements. I believe that critical pedagogy is a way of critiquing society and politics through a wide lens, enabling participants to consider social constructs and systems as a device for instigating social justice and empowerment. Preston writes ‘Critical Pedagogy analyses contexts in terms of the way in which they produce values and the systems that benefit certain groups of people’ (Preston, 2016, 18)- This explains that a critical approach is exploring why certain political climates or prejudices create privileged groups that benefit from that social opinion and other groups that become marginalised due to it. An example of this is the stigma that ex-criminals/incarcerated people face after release from prison. They will never face a normal life again due to the label they have attached to them alongside the lack of respect from fellow humans, this classes them as a marginalised group. On the flip side we have the people that feel protected by the justice system and who look down on the previously incarcerated. This is a social group that benefits from the situation as they outnumber the marginalised greatly. A critical pedagogy focusing on this particular example would use radical education to analyse where this construct has come from and encourage the affected to feel a sense of empowerment by finding their once silenced voice. We all know that incarceration does not mean your life is over, critical pedagogy would enforce this opinion at full force whilst also educating on the history of that specific social construct and encouraging an intervention.

2.   What does Preston mean when she refers to the ‘cultural context’ of a group?

Preston explains that ‘Cultural Context’ is very important to consider when attempting radical education (critical pedagogy). She explains how an individuals expressions and mannerisms are all cultural practises- something that you develop depending on your background. For a facilitator, it is important to understand the vast range of cultural backgrounds and the mannerisms of people you are facilitating, in order to devise ‘multi-layered pedagogies of reading the self’ (Preston, 2016, 26) by understanding all of this, facilitators allow participants to reflect on their pathological and everyday patterns of behaviour. Preston gives an example of analysing a group of girls and their entrances into a fictional party, she goes on to talk about how their intervention lead to them making discoveries about themselves and wanting to change a few ways they operate daily. This whole section was very interesting to me as it made me think back to how I would conduct myself at a young age when entering socially climatic situations- such as a school disco. I remember always wanting to be like the popular girls (not valuing my own beauty back then) and I would attempt to behave like them. Pouted lips, straight posture, certain vocabulary that was foreign to me etc... This was very interesting to look back on as even though this was years ago, I would still change that behaviour if I could. It is interesting to think about your behaviour in situations that seem redundant, but there is always a self-discovery to be made through this form of facilitation, and I'm really drawn to that.

Considering cultural context and mannerisms has huge connotations of empowerment, it enables people to challenge their most dominant behaviour and offers them a chance to change that- in attempt to not allow themselves to be objectified or portray themselves wrongly/distastefully. Enabling people to make that change is empowering because it gives them control over their image whilst also educating them on the history of it. 

3.   Why is critical awareness important for a facilitator?

When talking about critical awareness, Preston writes ‘In the light of our presence, we need to attempt to understand the moments that emerge for us- in their complexity, messiness and difficulty- without letting our ego result in an unwitting reframing of the work around our sensitivities and sensibilities’  (Preston, 2016, 29)

This was an extremely interesting read for me, what I gather Preston is saying is that sometimes working with marginalised groups in society or less experienced theatre makers, leads to subject matters of work or opinions that are not necessarily conventional or justified- inside or outside the theatre world- and that It can sometimes be hard as a facilitator to want to sway or influence those opinions we do not agree with. But the bottom line of critical pedagogy is this- it is a discovery for the participant, not the facilitator, a facilitator is simply enabling that discovery. As a facilitator we must be critically aware to the thoughts of our participants, but also the politics of their identity. To have full awareness of this enables new discoveries for both parties, and encourages social intervention for those who may need it. Preston also talks about how the facilitator role is one of neutrality and that essentially, if you facilitate, you are an observer. However in order to observe fully, you need to be able to situate yourself in the the field of that culture, that means researching and understanding the historical oppression/injustices of that group. And when you understand that, you will start your observation fully educated and ready to facilitate that intervention. 

Bibliography 

Preston, S. (2016). Applied theatre: facilitation: pedagogies, practices, resistance. Bloomsbury Methuen Drama.

[appliedtheatreblog]

Applied theatre-international case studies and challenges for practice.

1. How would you describe Applied Theatre to someone who has not read this introduction or experienced applied theatre in other ways?

-Applied Theatre is an umbrella term for drama as a vehicle to educate and inspire social change, drawing from aspects of the current social/political climate to inform the practises, and aiming this teaching at marginalised groups in society. 

In simple terms, Applied Theatre is bringing theatre to venues that are not traditionally theatre related, and introducing a group of people who may or may not have experienced theatre, to a new art form. This is a way of reaching outside the walls of a theatre building, and educating people who may have been sheltered from theatre (through no fault of their own) about a modern taboo subject matter. 

I approached my flat mate (who is studying music) and asked her what she thought Applied Theatre is. Her answer was this - ‘I'm not sure? Erm.....Applying drama to everyday life?’ This was entertaining in the moment for me, but on further inspection I thought ‘She does have a point though?’. Applied Theatre is removing theatre from where it usually resides, and taking it to venues of everyday value, educating those with everyday lives (not that that is a bad thing at all).

2. Which of these types of applied theatre most draws your interest? What is it that attracts you to this particular form?

I could see myself working in the Health Education area of applied theatre because I really appreciate the message it conveys and the fact that it shines a light on the concerns the elderly in our society face, most of which are subjects the younger generation may turn a blind eye too. I accessed the website of Target Theatre, a theatre company with members aged 55+ who create pieces that have a main focus of certain bridges the elderly face when coming to terms with their aging. Subjects in their show reel included:-

- Family relations

- Seniors and their relationship to cars

-Social isolation

-Staying safe at home 

-Dementia and Alzheimer’s disease

 -Seniors and dating,

 -Scams and elder abuse 

-Prostate cancer.

On their website, Target Theatre have the following statement- ‘Based on real life research, the plays examine situations familiar to seniors and often use humour to reveal new insights into the many dilemmas faced by seniors, their families, and caregivers’

When I accessed this site I was expecting to find a simple show reel of comedic relief of senior issues, something all ages can laugh with them about. And although this is the case, it is so much more than that. Its about teaching others that being a senior isn't staying home all day, but rather struggling with keeping up with modern society and the fears they face everyday. 

I admire this company profusely and I respect and appreciate them for using their experiences to educate others on somewhat invisible issues. It is so important that we as humans live a tuneful life with each other, and learning of the societal issues many seniors feel they face, really tugged at my heart strings and made me revaluate how crucial it is that we look after our elderly, just like they did to us.  

If I were to were create a Theatre for Health Education workshop, I would most likely take it into a college/uni and create a piece that would look at blood donation and transfusion. Partly because of personal reasons with dangerous blood loss, but also to teach just how accessible it is for you to donate blood, and that there is ALWAYS somebody who will desperately need it. I think Theatre as a device to instigate this social message, would be perfect and would create a beautiful image.

I have already learnt so much in this module and we haven't yet surpassed week 1, but the biggest message I will take away from researching the different forms of Applied Theatre, is that there are so many social/political injustices that go unnoticed. And that as a theatre maker, I possess the skills and ability to enrich the lives of those around me through the form of education. And what better way to utilize those skills when social change is the outcome.

Bibliography 

Saxton, Juliana, and Monica Prendergast. Applied theatre: international case studies and challenges for practice. Bristol, Intellect, 2009.

“About our work.” Creating social transformation through theatre, Target Theatre, 2010, p. 1, http://www.targettheatre.ca/.