Dancing into a critical process drama

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2022-07-01 DOI:10.1386/atr_00060_1

C. Coleman

引用次数: 0

Abstract

This article describes the critical process drama framework and highlights its potential to disrupt the status quo through an agenda of exploration and wonder. Generated through arts-based research exploring process drama as an enactment of critical pedagogy, the cumulative case study drew upon a document analysis of Cecily O’Neill’s Seal Wife workshop and exploration of the ‘mantle of the expert’ dramatic inquiry form. Developed to enact critical process drama, six key concepts ‐ hope, aesthetic, agency, agitation, action and ambiguity ‐ operate as an interwoven and reflexive framework to inform drama practice. Dynamic, relational and essential, these six concepts enact the theories of critical pedagogy and process drama as dialectical, improvisational approaches committed to transformation and social justice. As educators and artists, we cannot dance forever in the imagination or plod along hopelessly in reality. Through critical process drama participants, can operate critically in new worlds and significantly between worlds. We need to travel between and transform through transitions. In the crack between the light and dark we can dance and dance and dance.

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在一个关键的过程中跳舞

本文描述了关键过程戏剧框架，并强调了它通过探索和惊奇的议程破坏现状的潜力。通过以艺术为基础的研究，探索过程戏剧作为批判性教育学的制定，累积案例研究借鉴了Cecily O ' neill的海豹妻子研讨会的文件分析和对“专家的斗篷”戏剧探究形式的探索。为了制定批判性过程戏剧，六个关键概念——希望、审美、代理、激动、行动和模糊——作为一个相互交织和反思性的框架，为戏剧实践提供信息。这六个概念是动态的、相互关联的、必不可少的，它们制定了批判教育学理论，并将戏剧过程作为致力于变革和社会正义的辩证的、即兴的方法。作为教育工作者和艺术家，我们不能永远在想象中舞蹈，也不能在现实中绝望地前进。通过批判性的过程戏剧参与者，可以在新的世界和世界之间进行批判性的操作。我们需要在过渡中穿梭和转变。在光明与黑暗的夹缝中，我们可以跳啊跳啊跳。

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

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

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.