By Helen Nicholson
Helen Nicholson examines the ways that drama and theatre were utilized to varied neighborhood and academic contexts. She presents an summary of the theoretical options underpinning perform in utilized drama and theatre and examines a number practices within the gentle of latest theoretical and political issues. utilized drama has a thorough democratic heritage, and this e-book explores how practitioners confront questions of neighborhood, creativity and citizenship in theatre that is oriented in the direction of social switch.
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Extra resources for Applied Drama: the Gift of Theatre
It was a semiotic reminder that these children would need to negotiate both local and global perspectives and interests in their lives. The interweaving of ecological citizenship, geography and theatre in this performance created a powerful aesthetic, and the unity of purpose was enhanced by the dynamic interaction between the performance text and its context. The children’s performance seemed to have captured a moment of resistance, in which they acknowledged through their choices of performance styles that they were not insulated from the semiotics of globalisation, but they also invoked local cultural traditions as a way of symbolising the need to maintain threatened systems of labour.
At the time of my visit in summer 2003 the curfew in the area had recently been lifted and there was cautious but growing confidence in the peace process. This village bordered the lagoon, and there was heavy dependence on its fish stocks for the local economy. As part of a conference on community theatre, the local children of the village had devised a performance about the waste materials that had begun to litter the fertile fishing grounds nearby. The play was performed in Tamil entirely by the children, so my understanding of the dialogue was inevitably limited.
Resistant politics, by contrast, recognises that all knowledge is contextually bound. It accepts that, although power is unevenly distributed, the idea that there are clearly identifiable social structures which might be transgressed is no longer an adequate representation of the complexities of capital in the era of globalisation. 15 This leaves a political conundrum. According to Foster, all cultural action and production – including drama and theatre – is contingent on context, and although political art is resistant to dominant cultural formations, it is, by implication, also parasitic on them.