Facilitating departures from monolingual discourses

IF 0.2 0 THEATER
Claire French
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引用次数: 2

Abstract

This article locates and critiques monolingual discourses within applied performance praxis in the United Kingdom and South Africa, suggesting starting points for facilitating multilingual actors’ vast linguistic resources. Set out as a theorized reflection of praxis, I interrogate how the facilitator can draw from actors’ linguistic resources without perpetuating dominant and potentially damaging language ideologies, by which I refer to the socially shared beliefs about language that shape and are shaped by language use. I discuss the powerful language ideologies connected to so-called ‘standard’ English and constructed by dominant institutions to discover how they are reproduced in performance praxis. I also analyse performance examples engaging complex linguistic conditions related to both student and refugee groups in the United Kingdom and South Africa to discuss varied facilitation approaches in context. Through my reflection, I reveal the complexities and opportunities for the facilitator navigating the socio-culturally and politically fraught terrain of language.
促进脱离单语话语
本文对英国和南非的应用表演实践中的单语话语进行了定位和批判,为促进多语演员丰富的语言资源提供了一些出发点。作为实践的理论化反映,我询问促进者如何从演员的语言资源中汲取,而不会使占主导地位和潜在破坏性的语言意识形态永续下去,我指的是社会上关于语言的共同信念,这些信念塑造了语言的使用,也被语言的使用所塑造。我讨论了与所谓的“标准”英语相关的强大的语言意识形态,并由主导机构构建,以发现它们如何在表演实践中被复制。我还分析了与英国和南非的学生和难民群体相关的复杂语言条件的表演示例,以讨论上下文中的各种促进方法。通过我的反思,我揭示了促进者在语言的社会文化和政治领域中导航的复杂性和机会。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
0.70
自引率
50.00%
发文量
6
期刊介绍: Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.
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