Fugitive knowledge: Performance pedagogies, legibility and the undercommons

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2018-11-01 DOI:10.1386/ATR.6.2.121_1

A. Walsh

引用次数: 9

Abstract

In Held, the criminal justice project I conducted at the University of Leeds with 2nd year theatre and performance students, performance pedagogies were structured to produce an ethnodrama. As part of the course, I developed partnerships with community-based partners - Leeds Magistrates, Her Majesty’s Prison and Probation service, and Ripon House. Students presented the performed ethnodrama to partners and invited guests. In this article, I put forward how such performance-making enables students to interrogate their own understandings about the criminal justice system. In particular, they were asked to think about precarity, criminalisation, and how institutions rely on authoritative readings of ex-prisoners’ records. In doing so, I reflect on how higher education institutions produce knowledge. Throughout I offer critical framing influenced by Stefano Harney and Fred Moten’s The Undercommons.

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逃亡知识：表演教学法、易读性和不通用性

在赫尔德，我在利兹大学与戏剧和表演专业二年级学生一起进行的刑事司法项目中，表演教学被构造成制作民族戏剧。作为课程的一部分，我与社区合作伙伴建立了伙伴关系——利兹治安法官、女王陛下监狱和缓刑管理局以及里彭之家。学生们向合作伙伴和受邀嘉宾展示了表演的民族戏剧。在这篇文章中，我提出了这样的表演如何使学生能够质疑他们自己对刑事司法系统的理解。特别是，他们被要求思考不稳定、刑事定罪，以及机构如何依赖对前囚犯记录的权威解读。在这样做的过程中，我反思了高等教育机构是如何产生知识的。在整个过程中，我提供了受Stefano Harney和Fred Moten的《卧底》影响的批判性框架。

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.