Youth Theatre Journal最新文献

{"title":"One the Bear: A postcolonial radical hip hop herstory","authors":"C. Hatton","doi":"10.1080/08929092.2018.1520770","DOIUrl":"https://doi.org/10.1080/08929092.2018.1520770","url":null,"abstract":"ABSTRACT This article explores the theatrical power and politics of a new Australian production called One the Bear by Candy Bowers and the Black Honey Company. This high-energy, magic realist hip-hop fairy tale sought to decolonize the TFY space by speaking out about the experiences, stories, and identities of First Nations women through its masterful use of allegory, music, dance, and rhyme. Informed by radical feminist and postcolonial politics, this game-changing production burst onto the Australian TFY scene, pushing the boundaries of form, style, and message to reposition audiences within complex narratives of oppression and power. It offers a multitude of provocations to young and old audiences to reconsider the impacts of colonization and how it shapes the present and the future.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"111 - 123"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1520770","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43470137","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From the Editor","authors":"M. McAvoy","doi":"10.1080/08929092.2018.1522216","DOIUrl":"https://doi.org/10.1080/08929092.2018.1522216","url":null,"abstract":"In May 2017, scholars, artists, activists, and educators from around the world gathered for two days in Cape Town, South Africa, to think through intercultural exchange and diversity as part of the International Theatre for Young Audiences Research Network (ITYARN) conference, the international research network of ASSITEJ International. Compelled by interests in the complex histories, theories, literature, pedagogies, aesthetics, and ideologies that shape our field, the assembled group wrestled with exciting and challenging ideas regarding representation, values, identities, and art in the context of a rapidly evolving and more interconnected world. This special issue reflects and responds to these conversations. Without question, intercultural exchange and diversity are both sticky, slippery concepts, bound up by a host of questions regarding economic and cultural domination, imperialism, (post)coloniality, White supremacy and, above all, power. For example, how might equal exchange happen between cultures built upon imperialist rule? How do artists and educators honestly and ethically share ideas, resources, and performance traditions in the face of globalization? Who benefits from discourses of diversity, and how might those conversations evolve in response to ideas and writings about justice, inclusion, and reconciliation? These questions and many others, which I spoke to in Youth Theatre Journal’s thirtieth anniversary timeline (vol. 30.2), reverberate through the work of organizations like ITYARN and ASSITEJ, as well as AATE, and through this special edition. Accordingly, the authors represented here have similarly contextualized their research in this complicated but worthwhile scholarly terrain, drawing out important provocations for continued thought as they rigorously investigate important theatrical works and community programs in our field. The first essay, “Antigone to Antonia: Moving Beyond the Teleological Model of Tragedy for Young Audiences,” by Kristin Hunt, offers a theoretical reframing of tragedy for young people. She advocates for “an ethics of artistry itself rather than an ethics of artistic effects,” whereby adult theatre makers take seriously the aesthetic sensibilities of young people as ends unto themselves, deserving of complex, ambiguous representation in art, particularly of tragic forms. To explicate these ideas, Hunt analyzes several tragedies for young audiences adapted and/or inspired by Sophocles’s Antigone, from Ghanian playwright Kamau Brathwaite’s Odale’s Choice (1962) to the US Latinx playwright José Casas’s 2015 work, Antonia: A Chicana Hip-Hop Antigone. Hunt’s reading of these playtexts focuses on the role of theatrical tragedy in shaping notions of societal good and points to new avenues for thinking through not only what artists present on TYA stages, but how young audiences might interact with those productions as part of complex ethical and aesthetic experiences. Christine Hatton’s “One the Bear: A Po","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"97 - 99"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1522216","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47864521","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"From Antigone to Antonia: Moving beyond the teleological model of tragedy for young audiences","authors":"K. Hunt","doi":"10.1080/08929092.2018.1520767","DOIUrl":"https://doi.org/10.1080/08929092.2018.1520767","url":null,"abstract":"ABSTRACT Alongside the rich tradition of international tragic adaptation for adult and general audiences, adaptations of tragedy for youth have proliferated around the world in the last several decades. As reaction to these works and to other representations of bad acts for and by young people demonstrate, these plays, which often feature murder, suicide, betrayal, martyrdom, and moral decay, present a substantial challenge to the conventions of appropriateness Manon van de Water cites as central to much contemporary TFY production. Yet adaptations of tragedy for youth must also grapple with a teleological ethics that treats tragedy largely as a means to a developmental end rather than an aesthetic experience in and of itself, presenting a substantial challenge for playwrights interested in producing vital and complex tragedy for young audiences. In this article, I survey trends in global tragedy for young audiences in order to outline an alternative vision of tragedy for young audiences which treats young audiences not as raw material to be molded into the practice of a particular model of goodness but as an end in themselves, outlining an ethics of artistry rather than an ethics of artistic effects.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"100 - 110"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1520767","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45882565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"International collaboration: A conversation on Baba Yaga","authors":"D. Rosengren","doi":"10.1080/08929092.2018.1524107","DOIUrl":"https://doi.org/10.1080/08929092.2018.1524107","url":null,"abstract":"ABSTRACT Danica Rosengren interviewed Shona Reppe and Christine Johnston in May of 2018 about Baba Yaga— a new performance developed by Christine, Shona, Windmill Theatre Company, and the Imaginate Festival. Highlights of this interview include Christine and Shona discussing their decision to retell this old Russian tale, how each artists’ own development process and culture influenced the piece, and tips for international collaboration.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"177 - 181"},"PeriodicalIF":0.0,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1524107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45366919","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reflection on action plans: Considering systems alignment in the results of an arts-based professional learning intensive for classroom teachers","authors":"Kathryn M. Dawson, Caitlin Deckard, S. Cawthon, H. Loblein","doi":"10.1080/08929092.2017.1423145","DOIUrl":"https://doi.org/10.1080/08929092.2017.1423145","url":null,"abstract":"ABSTRACT Drama-based pedagogy is a collection of active and dramatic teaching strategies for generalist classroom teachers that can be applied to all areas of teaching and learning. This qualitative study examines the use of an action plan tool by K–12 teachers during a two-week Summer Institute in drama-based pedagogy, hosted by a university in central Texas. The authors conducted and analyzed interviews with teachers about their action plan 4–5 months after the end of the Summer Institute. Using a qualitative, cross-case analysis approach, researchers identified common themes (supports, barriers, and motivations) that shaped individuals’ conceptualization of their action plan over time. Findings suggests that effectiveness of the action plan assignment was based on the alignment between the teacher’s characteristics and working environment; the teacher’s ability to set appropriate, achievable tasks; and the teacher’s and program’s conceptualization of “success” in relationship to the chosen tasks. Key learning from this study includes the authors’ revision of the action plan assignment to better support a range of participant contexts within the Summer Institute professional learning model.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"75 - 91"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2017.1423145","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48891078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Editor’s note","authors":"Beth Murray","doi":"10.1080/08929092.2018.1451175","DOIUrl":"https://doi.org/10.1080/08929092.2018.1451175","url":null,"abstract":"Preparing a general issue of Youth Theatre Journal is like a cooking challenge I love. The task? At someone else’s home, prepare dinner with whatever is already there. No grocery run. No borrowed ingredient. No smuggled spice. It is always more fun in someone else’s kitchen. The same dynamic occurs in editing a general issue. Youth Theatre Journal flings the doors wide... and authors generously stock our shelves with their work. This work was not created to fit in a particular issue or feed a certain theme. Rather, it is a reflection of what the authors offer as important and relevant and worthy. General issues are a smorgasbord. Sometimes, the issue becomes an array of appetizers that allow readers to sample widely across methodologies and orientations and questions and theoretical frames. Other times, the issue showcases variations on theme... the academic equivalent to a spread of omelets, deviled eggs, quiche, egg salad, and soufflés. Sometimes, as with this issue, it’s a delightful gumbo... a mixture of ingredients and influences from all sorts of global corners that, when combined just so, creates something that both warms and feeds us, but also represents beautifully our contested living histories. The broadening range of what-counts-as-youth is enlivened in Ben FletcherWatson and Gustave Weltesek’s writings. Fletcher-Watson offers a sequel to his 2013 YTJ piece, continuing development toward a “coherent theory of Theatre in the Early Years” (TEY). Chronicling a two-year grounded theory study, FletcherWatson paints a vivid picture of TEY in Scotland in the voices and perspectives of 26 TEY practitioners to forward a dramaturgical model of TEY as a form continually navigating tensions between equality and integrity. At the other end of the richly widening “youth” spectrum, Gus Weltsek reflects on the intersection of race, agency, and the embodiment of change in a university-student theatre group called the Emergent Theatre Project. Weltsek centers the work with youth clearly, but focuses on a brave critical analysis of his own morphing race-based identity, catalyzed by and feeding back into contested conceptions of social-justice theatre/drama work with youth. Several pieces link to classic drama/theatre efforts in schools with teachers and students, yet also interrogate the multitude of ways theatre/drama finds its way into the K–12 classroom, reinforcing that “how” matters. Jo Beth Gonzalez, a scholar and veteran high school theatre teacher, shares a reflective analysis fostering intentional wakefulness in her high school theatre ensembles. This orientation, at once reminiscent and immediate, leans into articulating ephemeral aspects of theatre work in a high-school setting over several years. Folding in and leaning on ideas from an eclectic range of fields, Gonzalez distills her findings into four categories: breath, stillness, community, and presence. The Peter Duffy-Beth Powers article examines drama/ theatre’s role in general pre-serv","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1451175","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48260602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The racialized roles we play: Owning the self through an emergent theatre project","authors":"Gustave J. Weltsek","doi":"10.1080/08929092.2018.1445052","DOIUrl":"https://doi.org/10.1080/08929092.2018.1445052","url":null,"abstract":"ABSTRACT This article shares the author’s reflection upon how participation in an emergent theatre project allowed for examination into the construction and deconstruction of “self” in response to an onslaught of social directives on how to perform racialized selves—or how to be Black or White or Other. Conversations and interactions across the Emergent Theatre Project (ETP) and specifically with student participant Yusuf Agunbiade and Eric Love, the co-faculty director, serve as the backdrop for this critically self-reflective piece. In doing so, Applied Theatre is imagined as a radical and subversive space where socially imposed identities may be named, challenged, deconstructed, reconstructed, rearranged, owned, and acted upon.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"16 - 29"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1445052","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47291759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The teaching artist’s journey: Professional learning in a hybrid field","authors":"Jamie Simpson Steele","doi":"10.1080/08929092.2017.1422167","DOIUrl":"https://doi.org/10.1080/08929092.2017.1422167","url":null,"abstract":"Abstract How do teaching artists identify themselves, experience professional development, and perceive their professional development needs? This exploratory case study employs elements of self-study to describe the professional development experiences of teaching artists within one specific context, noting strong practices and suggestions for change. Participants articulated ideas around the converging themes of identity, induction, professional knowledge, and continuous development. Their insights provide support for advancing the identity of teaching artists as professionals, informing the choices of those who provide professional development, and engaging teaching artists as agents in their own development.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"60 - 74"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2017.1422167","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59418703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Playwriting and Young Audiences: Collected Wisdom and Practical Advice from the Field","authors":"John D. Newman","doi":"10.1080/08929092.2018.1445373","DOIUrl":"https://doi.org/10.1080/08929092.2018.1445373","url":null,"abstract":"","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"92 - 93"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1445373","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43170895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards recognition and regard: Creating connectivity in theatre education through intentional wakefulness","authors":"J. Gonzalez","doi":"10.1080/08929092.2018.1445051","DOIUrl":"https://doi.org/10.1080/08929092.2018.1445051","url":null,"abstract":"ABSTRACT In secondary theatre education, activities described as spiritual, mindful and ritualized are normalized components of actor/crew training. Theatre techniques categorized by these concepts contribute to the development of the whole teen in addition to preparing them for rehearsal and performance. Yet these terms are rarely used for fear skeptics will scoff at theatre work for lack of rigor or accuse teachers of blending church and state. Little attention has been given to the positive effects that these experiences have on teens who live in fast-paced, technology-infused environments where instant gratification is a common-place expectation. Because adolescence is a period of particularly intense emotional, social, and spiritual growth, a heightened sense of self-awareness helps them become more sensitive to others as they gain a deeper sense of their own and others’ motivations, insecurities, and levels of self-confidence. Termed “Intentional Wakefulness” by the author, theatre strategies that guide student focus toward the development of their inner selves include breath, stillness, presence, and community students. This essay examines how these four aspects of theatre experience engage inner core development in high school theatre students and describes ways “Intentional Wakefulness“ manifests on a daily basis from the perspective on one practitioner.","PeriodicalId":38920,"journal":{"name":"Youth Theatre Journal","volume":"32 1","pages":"30 - 44"},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/08929092.2018.1445051","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49242936","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}