Applied theatre research. Radical departures
- Authors: Sutherland, Alexandra
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468527 , vital:77087 , https://doi.org/10.1080/10137548.2015.1085255
- Description: This book is part of the Applied Theatre series, which presents scholarship on different foci around applied theatre practices. The seven case studies of how applied theatre practices can be framed as research methodologies are practically and theoretically useful for students, practitioners and scholars engaged in community-driven, socially engaged theatre work. The book argues a particular approach to arts based research which offers alternatives to traditional research tools such as ‘the interview’ (which often result in participants giving a researcher what they think they want to know or hear) and provides a range of aesthetic research methodologies that aim to harness the language of theatre and performance as an empowering and resistant research tool.
- Full Text:
- Date Issued: 2015
- Authors: Sutherland, Alexandra
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468527 , vital:77087 , https://doi.org/10.1080/10137548.2015.1085255
- Description: This book is part of the Applied Theatre series, which presents scholarship on different foci around applied theatre practices. The seven case studies of how applied theatre practices can be framed as research methodologies are practically and theoretically useful for students, practitioners and scholars engaged in community-driven, socially engaged theatre work. The book argues a particular approach to arts based research which offers alternatives to traditional research tools such as ‘the interview’ (which often result in participants giving a researcher what they think they want to know or hear) and provides a range of aesthetic research methodologies that aim to harness the language of theatre and performance as an empowering and resistant research tool.
- Full Text:
- Date Issued: 2015
Disturbing masculinity: gender, performance and ‘violent’ men
- Authors: Sutherland, Alexandra
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468537 , vital:77088 , https://doi.org/10.1080/10137548.2015.1011859
- Description: This article examines a theatrical and social performance by focusing on an open-air festival where a prison theatre group performed. It explores the interplay between the sanctioned violence of the state, in which I became implicated, and the use by the actors of gender performances to disturb identity construction. I explore the ways in which an artistic project that I thought of as resistant to hierarchies and the status quo can suddenly become part of the hegemony and related violence it seeks to resist. The article frames the analysis of the performances by connecting theories around the politics of recognition with applied theatre processes. I argue that the theatre group used performance to negotiate an alternative politics of recognition. I also draw on Judith Butler's use of Hannah Arendt's scholarship on the political importance of appearance to locate the personal and political significance of bodily presence and visibility in public spaces. I suggest that the processes involved in creating theatre and performances, rather than the issue or content of the theatre, are personally and politically significant, particularly in negotiating an alternative identity and recognition for black men labelled violent.
- Full Text:
- Date Issued: 2015
- Authors: Sutherland, Alexandra
- Date: 2015
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468537 , vital:77088 , https://doi.org/10.1080/10137548.2015.1011859
- Description: This article examines a theatrical and social performance by focusing on an open-air festival where a prison theatre group performed. It explores the interplay between the sanctioned violence of the state, in which I became implicated, and the use by the actors of gender performances to disturb identity construction. I explore the ways in which an artistic project that I thought of as resistant to hierarchies and the status quo can suddenly become part of the hegemony and related violence it seeks to resist. The article frames the analysis of the performances by connecting theories around the politics of recognition with applied theatre processes. I argue that the theatre group used performance to negotiate an alternative politics of recognition. I also draw on Judith Butler's use of Hannah Arendt's scholarship on the political importance of appearance to locate the personal and political significance of bodily presence and visibility in public spaces. I suggest that the processes involved in creating theatre and performances, rather than the issue or content of the theatre, are personally and politically significant, particularly in negotiating an alternative identity and recognition for black men labelled violent.
- Full Text:
- Date Issued: 2015
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