Dramatic spaces in patriarchal contexts: Constructions and disruptions of gender in theatre interventions about HIV
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469555 , vital:77267 , https://www.proquest.com/openview/93d2aa0dfa29d4a6e6329d9e41808447/1?pq-origsite=gscholarandcbl=51375
- Description: Ca n t h e a t r e m a k e a d i f f e r e n c e , and if so, how? The research on which this essay was partly based intended to show how discrete moments of engaging young people through theatre can catalyse them into questioning gendered assumptions which drive mythologies, stigmas, and prejudices relating to HIV. This is based on my belief as a practitioner that applied-theatre approaches can create potentially transgressive spaces, a series of artistic transformations, where questions about entrenched stories and identities can be asked – particularly about what it might mean to be a man or a woman in an age of HIV. Jonothan Neelands has framed the overriding, nagging question I have: “What is more difficult to know is whether these artistic transformations can be said to also affect the broader socio-cultural domain.
- Full Text:
- Date Issued: 2013
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469555 , vital:77267 , https://www.proquest.com/openview/93d2aa0dfa29d4a6e6329d9e41808447/1?pq-origsite=gscholarandcbl=51375
- Description: Ca n t h e a t r e m a k e a d i f f e r e n c e , and if so, how? The research on which this essay was partly based intended to show how discrete moments of engaging young people through theatre can catalyse them into questioning gendered assumptions which drive mythologies, stigmas, and prejudices relating to HIV. This is based on my belief as a practitioner that applied-theatre approaches can create potentially transgressive spaces, a series of artistic transformations, where questions about entrenched stories and identities can be asked – particularly about what it might mean to be a man or a woman in an age of HIV. Jonothan Neelands has framed the overriding, nagging question I have: “What is more difficult to know is whether these artistic transformations can be said to also affect the broader socio-cultural domain.
- Full Text:
- Date Issued: 2013
The role of theatre and embodied knowledge in addressing race in South African higher education
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469590 , vital:77270 , https://doi.org/10.1080/03075079.2011.593620
- Description: This article examines the role of theatrical performance as a means of addressing the embodied and spatio-temporal manifestations of race and racism within South African higher education. As part of Jansen's proposal for a post-conflict pedagogy in South Africa, the article argues for the development and inclusion of embodied knowledges as an appropriate means of addressing issues of diversity and social transformation on South African campuses. Through a case study of one theatrical production aimed at tackling issues of diversity with incoming first year students at Rhodes University, it is argued that it was the embodied processes that the student performers in the production did that enabled them to interrogate the complexities of power and identity. The article suggests a move from intellectualised and abstracted engagements with race towards pedagogical methods that involve embodiment that, in this case, facilitated significant shifts in thinking about race and racial privilege amongst white students.
- Full Text:
- Date Issued: 2013
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469590 , vital:77270 , https://doi.org/10.1080/03075079.2011.593620
- Description: This article examines the role of theatrical performance as a means of addressing the embodied and spatio-temporal manifestations of race and racism within South African higher education. As part of Jansen's proposal for a post-conflict pedagogy in South Africa, the article argues for the development and inclusion of embodied knowledges as an appropriate means of addressing issues of diversity and social transformation on South African campuses. Through a case study of one theatrical production aimed at tackling issues of diversity with incoming first year students at Rhodes University, it is argued that it was the embodied processes that the student performers in the production did that enabled them to interrogate the complexities of power and identity. The article suggests a move from intellectualised and abstracted engagements with race towards pedagogical methods that involve embodiment that, in this case, facilitated significant shifts in thinking about race and racial privilege amongst white students.
- Full Text:
- Date Issued: 2013
‘Now we are real women’: playing with gender in a male prison theatre programme in South Africa
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469579 , vital:77269 , https://doi.org/10.1080/13569783.2013.787262
- Description: The use of sexual violence as a means of power and control within the South African prison system has been well documented. Sexual violence is intimately linked to the gendering of roles, such that rape and coercive sex is used as a brutal means of imposing a feminised identity; a violent enactment of who penetrates and who gets penetrated. Within this context, this article aims to examine both the performative and performed notions of gender and sexuality in relation to a prison theatre project located in a medium-security male prison in South Africa. I situate myself as a white feminist working within a black, all-male context, and examine moments from our theatre-making when men assumed feminised or female roles, and gender was actively and deliberately played with in an uncensored, open way. This article aims to analyse the relationship between the deliberate performance choices within the theatrical frame and the performative notions of gender and sexuality that are played out external to the theatrical moment. I question when and how prescribed gender scripts that dictate an aggressive and often violent masculinity might simultaneously be enacted and violated through theatrical performance.
- Full Text:
- Date Issued: 2013
- Authors: Sutherland, Alexandra
- Date: 2013
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/469579 , vital:77269 , https://doi.org/10.1080/13569783.2013.787262
- Description: The use of sexual violence as a means of power and control within the South African prison system has been well documented. Sexual violence is intimately linked to the gendering of roles, such that rape and coercive sex is used as a brutal means of imposing a feminised identity; a violent enactment of who penetrates and who gets penetrated. Within this context, this article aims to examine both the performative and performed notions of gender and sexuality in relation to a prison theatre project located in a medium-security male prison in South Africa. I situate myself as a white feminist working within a black, all-male context, and examine moments from our theatre-making when men assumed feminised or female roles, and gender was actively and deliberately played with in an uncensored, open way. This article aims to analyse the relationship between the deliberate performance choices within the theatrical frame and the performative notions of gender and sexuality that are played out external to the theatrical moment. I question when and how prescribed gender scripts that dictate an aggressive and often violent masculinity might simultaneously be enacted and violated through theatrical performance.
- Full Text:
- Date Issued: 2013
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