Applied Theatre: Bewilderment and Beyond (Stage and Screen Studies, V. 5)

School of Theatre & Performance Studies and Cultural & Media Policy Studies

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James Thompson (disambiguation)

Showing Rating details. More filters. Sort order. Dec 28, Kari Barclay rated it it was amazing. Amazing amazing amazing. Full of passion, in-depth analysis, and personal stories, this book has transformed the way I think about applied and community-based theatre. Michael rated it really liked it Dec 20, Tessa rated it it was amazing Jan 14, Michael Hemberger marked it as to-read Mar 21, Ceri added it Oct 27, Lenka marked it as to-read Aug 24, Simona Simionof marked it as to-read Feb 01, Tegan Arazny marked it as to-read Jul 13, Amari Annandale marked it as to-read May 30, Christopher added it Nov 25, Israel Gay-rrero marked it as to-read Aug 27, Shanya Asabi added it Aug 09, Mariana Pimentel marked it as to-read Sep 11, There are no discussion topics on this book yet.

About James Thompson. James Thompson. Librarian Note: There is more than one author in the GoodReads database with this name. See this thread for more information. During these sessions, James was impressed by the extensive use of theatre in response to the 20 year long civil war, which in turn, led to many of the research questions addressed by In Place of War. But does he know where it all came from? Only in a vague sense. So, what's the connection between performative social science research and what we have just shared? Image Theater is the medium , subject and re-presentation of research into the issues it is exploring.

So Image is performance text where text and audience come together and inform one another and we develop a sensitivity to the intuitive, the hither side of words. Thus, the Image techniques are a form of knowledge and a way of constructing and presenting that knowledge, which is participatory and performative. The act of telling and listening to stories is one of the research methods involved in the examination of problems around themes of facilitating theater workshops that are revealed during the process, as well as an affirmation that a story is important to those telling it.

HERON points out that whole person learning involves enacting the interdependence of the personal within the world. Image involves not only an individual's story, but also enacts a collective linking of this story to the wider world.

Most frequently terms

As action inquiry, Image also enables us to focus on the human qualities we share to include our vision of goals, strategies, current actions and their outcomes, and to look at what is going on in the world around us. The different perspectives of what an image means is an important factor in the work. A workshop group will often see many different, but connected, meanings within a single image, often seeing things that the people who crafted the image hadn't thought about. The individuals in the image fill the shapes with feelings and thoughts that come from the interplay between the shape and how they feel in it, and its relation to others in the picture.

Thoughts and words initially emerge from the individual's awareness of the static body in the image and the people and the world around it. Images can also be put into motion by asking those watching to suggest the next scenes in a story, or by the facilitator clapping so that each person in the Image moves toward what they want.

It is in this creation and activation of the images that the facilitator has to choose methods, tools and approaches based on the particular context, theme and group response. We are interested in developing a better understanding of how performance pedagogies such as Image Theater open up spaces to explore issues.

Research Themes

The work is based on the stories of workshop participants' lives and the enabling participants to discuss issues and search for alternative responses to the problems that are presented. Within this process, we seek to maintain the cycles of research activity where "data is collected, analyzed and presented in dramatic fashion" NORRIS, , p. We are, and have been, presenting this work in a virtual environment. Exploring representation of stories in Image Theater, this article has incorporated digital images and video recordings in an online environment to enable sharing and archiving of stories and interpretations of those facilitating and participating in the workshops.

In future we would like to explore the use and ethics of web-based collaborative authoring tools, such as wikis 7 , which will facilitate the flow of narratives, conversations and images between and among participants at distance. I decided to go away into foreign parts, meet what was strange to.

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Followed a long vagabondage, full of research and. ELINOR: One of the exciting things for me when writing this paper has been the idea of it being a shared dialogue, and the fact that there are so many layers to this sharing. In a sense, you and I have engaged in our own collaborative story telling process here and through that engagement we have discovered new meanings in our work.

Our discussions have helped me to crystallize my own thought processes around the way I work with Image. A conversation through text and images means challenging me to explore how I may bring the reader into the dance between the texts we have written and how they interpret them. But what kind of dancing? The meandering between and amongst such bodies means that we must move beyond only intellectual understandings of experiencing something.

Feelings must come into play. For it is only when we dance in the flow of emotioning of another can we experience understanding. Then we are moving in the same stream—cognitively flowing together. ELINOR: I definitely relate to the idea of being on the same wavelength; this for me is the emotional connection to the work and to the fellow collaborators.

When you are excited about something then sharing it enables you to add more to the original idea; you get other people's understandings and energy. As a relatively new researcher and definitely someone new to performance as research I want to continue developing the uses of Image Theater as a methodology. I can see connections for me within organizational psychology and how we connect our inner social constructs with our external face; how do we balance our thoughts and actions in complex settings? WARREN: I am interested in how we might negotiate this tension between the structure of the dance that is this dialogical text and the need to transcend it by using the "variant meanings of motion, space and time to articulate [its] aspects" SALVIO, , p.

This requires an enactive understanding of language and knowing. As educators, we need to look more creatively at the stances we embody when we engage with texts and seek out diverse modes of interaction that extend written ideas into verbal communication, body language and other forms of performance.

In reading and re-reading the text I recall, I re-collect, I re-embody the actions through the perspective of all the other times I have used it. And these writings enable a productive tension between the tradition of the technique and the transformation of myself who learns by leading the technique So the next step for me is to be aware of how writing and writing this text changes the way I do the work in the future and, conversely, how I may write about it in the future.

Then each of these two participants creates an Image of a critical moment in the story, placing the storyteller in the Image as themselves in relation to others. The original storyteller then chooses which Image best expresses the moment.

Because the Image is a concrete representation of the situation in that it contains real bodies that can be manipulated, as well as real bodies that express themselves in relation to others and through voice , it becomes easy to manipulate, move forward into the future or back into the past or add elements that indicate other parts of a particular system's structure, or isolate a key relationship.

Thus, the theater process transforms the participants' feelings and experiences into language and Images that they can hold up for critical examination by discussing or manipulating them. FYFFE , n. WARREN: I use two types of Imaging processes: one that starts with the word and arrives at the visual—"I say a theme, you visualize it"; and the other starts at the visual image and arrives at its verbal expression—"you create an image and we then verbalize what we see"; this is a circle of imagination and verbal expression.

But when we want to go beyond authority, and aim for novelty, originality and invention, then, as CALVINO says, "the priority tends definitely to lean toward the side of the visual imagination These epiphanies come through individual or collective unconscious, re-emerging from memories that were heretofore lost. These moments are beyond our intentions and our control, and carry a sort of transcendence, as meaning is found through engagement, revealing "itself as one takes part in its revelation" BUBER, , p.

This is what happens but we are, of course, limited by our perceptions of what an Image is about connected to what I mentioned earlier about guessing, I remember working with Social Work students one time where they all wanted to know the true story behind each Image they looked at. I think that the power of image is that it does not require vocalization. The vocalization comes in the form of the physical responses that individuals give.

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We are limited by our imaginations, which are formed by the world outside the image. But as collaborative exploration, the forming and re-forming of the image means everyone contributes, one by one. The frozen image becomes the prelude to action, "which is revealed in the activation of the image" BOAL, , p. As her input to the 6 Part Story Method sessions, one of the participants in the education workersproject developed a story around a character Ruby. The story is as follows :.

Once upon a time on the Island of Johnty there lived a lighthouse keeper named Ruby. Ruby was hard working, determined, committed and thoughtful. Although serious at times, Ruby liked to laugh and have some fun. There were a limited supply of resources on the Island of Johnty and thus many of the islanders had to leave in search of provisions from the neighboring islands. The Island of Johnty had some good links with the mainland and with other islands close by. However, some of the neighboring islands were not so accommodating and in the battle to seek provisions it could be difficult and at times treacherous out on the rugged coastline.

Therefore, to prevent these battles occurring the majority of the journeys to and from Johnty occurred late at night and sometimes in rough seas. However, the island was completely surrounded by ferocious rugged rocks apart from a very narrow inlet. Therefore to prevent the boats crashing Ruby's job was of particular importance and she had to regularly maintain the lighthouse to ensure it was working most efficiently otherwise it would result in death. Ruby was fortunate enough to have a partner who was strong and dependable and also had a lot of experience in maintaining the lighthouse.

However, Queen Ishobel who ruled the Island of Johnty although gentle, kind and caring was disorganized and did not share Ruby's vision of planning ahead.

Then when Ruby met with the Queen for guidance and resources to support the maintenance of the lighthouse, she often became quite frustrated as the Queen liked to stick only to two techniques to maintain the lighthouse and Ruby often wondered what else? Therefore, over the years Ruby had become tired, confused and worn out as although she has a supportive she often feels that she is trying to maintain the lighthouse all alone.

Ruby now more than ever realizes the importance of connecting with others to share their ideas and resources in planning, delivery and evaluation. The following three photographs show key elements of Ruby's story. There are brief descriptions underneath of possible ideas emerging from each photograph.

Ruby begs Queen Ishobel! In the story, Ruby needs Queen Ishobel to hear her plea for more help lighting her lighthouse.

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