Danny Braverman | Goldsmiths, University of London (original) (raw)
Papers by Danny Braverman
'Bubble Schmeisis' is a storytelling performance by director-dramaturg Danny Braverman, w... more 'Bubble Schmeisis' is a storytelling performance by director-dramaturg Danny Braverman, with writer/performer Nick Cassenbaum. In the show, Nick Cassenbaum invites you into the warmth of the Canning Town Schvitz, East London’s last authentic bath house. Amongst the steam and ritual Nick takes his audience on a journey to find the place he belongs. Bubble Schmeisis is full of intimate and personal true stories about identity, home and getting schmeised (washed) by old men. It has now toured extensively across the UK, as well as to the USA and as part of the programme for Valetta (European City of Culture, 2018). The published script (Oberon, 2019), contains Braverman's detailed Introduction, outlining the use of his 'dialogue-across-difference' dramaturgical framework in the show's creation
The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Y... more The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Young Audiences). Although much of this work is unheralded, it had an influence that can still be felt today. Pushing The Boundaries was a conference designed for theatre practitioners, educationalists and students that explored how an understanding of the history of TYA can inform current practice. Inspired by the work of the late David Johnston (1948-2017), the conference included a screening of a video made during Johnston’s tenure as director of Theatre Centre (1977-1986), provocations from leading practitioners in the field, debate and discussion. Contributors include: Daryl Beeton (Daryl Beeton Productions), Deborah Bestwick (Ovalhouse), Danny Braverman (Goldsmiths), Raidene Carter/Natalie Wilson (Theatre Centre), Ava Hunt (Derby University), Vicky Ireland MBE (Association of Children's Arts), Caleb Lee (Five Stones Theatre), Roy Williams OBE (Playwright) The event was organised...
Bristol University Press eBooks, May 19, 2022
The mental health crisis is thought to affect 10-20% of children and young people in the world (W... more The mental health crisis is thought to affect 10-20% of children and young people in the world (World Health Organisation, 2019). It is clear that this is something that needs addressing in many ways, but importantly in schools. So, how can Theatre for Young Audiences make a contribution? In this paper, Danny Braverman and Ava Hunt explored how visiting theatre companies can regain a foothold in schools, focusing on the specific example of Hunt's most recent project, 'Journeys of Destiny' and Braverman’s Dialogue-Across-Difference framework. Chiefly, the authors were inspired by the pioneering work of the late Theatre for Young Audiences pioneer, David Johnston. Johnson’s work as Artistic Director of Theatre Centre from 1977 to 1986, presents an approach that can act as an inspiration for today
YouTube, Nov 14, 2013
On the 14 November 2013 Theatre Centre announced Danny Braverman as the winner of the Brian Way A... more On the 14 November 2013 Theatre Centre announced Danny Braverman as the winner of the Brian Way Award for best new play for young audiences for 'Wot? No Fish!!
We are the UK Centre of the International Association of Theatre for Children and Young People, k... more We are the UK Centre of the International Association of Theatre for Children and Young People, known worldwide as ASSITEJ, a network for makers and promoters of professional theatre for young audiences. Under our local name TYA-UK we offer links to theatres, organisations and individual artists around the world. Our members and partners in England, Scotland, Wales and Northern Ireland deliver, support and promote:
Trentham Books (Institute of Education), 2002
Drama is direct and immediate and this book shows how effectively it can be used to support Citiz... more Drama is direct and immediate and this book shows how effectively it can be used to support Citizenship Education, by putting students in someone else`s shoes. It provides inspiration and guidance to teachers and youth group leaders for enabling secondary school students and youth groups to develop their skills for democracy: their oracy, non-verbal communication, listening, debating and public speaking. The section on using plays covers theatre trips, performances by visiting companies, and working on drama texts. Examples of drama exercises follow, in which students devise and share from their own experiences, improve scenes, engage in drama games and work in role. The book includes the text of the author`s own short play, 'Making a Difference', and this is used as a case study to illustrate ways for students to enhance their understanding of government and engage directly with politicians. Playing a Part is for use in secondary schools and with youth groups and out-of-school activities. Drama and English teachers and teachers and teachers of Citzenship will find it a powerful and supportive resource
Bristol University Press, Mar 12, 2021
Despite an abundance of schemes in higher education, disabled students experience disadvantage. I... more Despite an abundance of schemes in higher education, disabled students experience disadvantage. In general, the academy takes its lead from equality legislation and establishes specialist teams to address ‘access’. This places access plans and agreements, typically assembled from a list of mechanisms matched to impairments, at the heart of disabled students’ experiences. This chapter problematises this approach with reference to critical disability studies, exploring how the dominant learning culture of the academy aligns more to the medical than social model of disability. The author explores how possibilities for innovative teaching can be based in the praxis of the growing field of inclusive theatre, anchored in the affirmative model of disability (Swain & French, 2000) and ‘universal design’ (Center for Universal Design, 1997). Through a detailed description of a workshop run by the author on post-colonialism and The Tempest, new ways of working are examined. This practice is grounded on a framework that conceives learning events dramaturgically, where their design takes into account a group’s emotional journeys and their social-bonding as prerequisites for dialogic learning informed by critical pedagogy. Ultimately, the author proposes that the achievement of excellent teaching for all can mirror the best inclusive theatre practice, where access is built-in rather than bolted on, containing multiple points of entry whilst building a strong sense of community
... Actor Antonia Kemi Coker with Sahin Smyth, Ramoe Mitchell, Angelina Radakovic and Shana Murra... more ... Actor Antonia Kemi Coker with Sahin Smyth, Ramoe Mitchell, Angelina Radakovic and Shana Murray from George Mitchell School Designed and typeset ... raised will dig below the surface into fundamental questions of human rights; eg following a performance of Mikey's story in ...
A blog by Danny Braverman reflecting his journey as a theatre-maker working with socially-engaged... more A blog by Danny Braverman reflecting his journey as a theatre-maker working with socially-engaged practice and prompted by his solo show 'Wot? No Fish!!'
Since evaluating his critically-acclaimed solo show 'Wot? No Fish!!', Danny Braverman has... more Since evaluating his critically-acclaimed solo show 'Wot? No Fish!!', Danny Braverman has been developing 'Dialogue-across-Difference', a dramaturgical framework designed for theatre-makers, scholars and students. Initially envisaged to inform theatre-making processes, it is now also being used for performance analysis and to evaluate participatory experiences. Inspired by the research of marketing agency Morris Hargreaves MacIntyre, 'Dialogue-across-Difference' explores the combination of the social, educational, emotional and spiritual dimensions to performance experiences. The over-arching aim of this research strand is to explore ways that performance experiences can bring together people from different backgrounds and experiences. The framework has been used to inform Braverman's own theatre-making as Director of Nick Cassenbaum's 'Bubble Schmeisis', Writer of the youth musical 'Something Inside So Strong' and Co-writer/Director o...
Premiere of new show with Nick Cassenbaum, exploring the life and work of entertainer Michael Bar... more Premiere of new show with Nick Cassenbaum, exploring the life and work of entertainer Michael Barrymore.
'Something Inside So Strong' is a practice-as-research project, exploring how a youth mus... more 'Something Inside So Strong' is a practice-as-research project, exploring how a youth musical can best be used for learning in both formal (school/college) and informal settings. Based on the songs of Labi Siffre, playwright Danny Braverman ran collaborative workshops with young people to create the musical. Informed by critical pedagogy, intersectionality and the author's own evolved dramaturgical framework, 'Something Inside So Strong' challenges reliance on the existing canon of commercial musicals, to create joyful, and moving performance events, rich in learning.
The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Y... more The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Young Audiences). Although much of this work is unheralded, it had an influence that can still be felt today. Pushing The Boundaries was a conference designed for theatre practitioners, educationalists and students that explored how an understanding of the history of TYA can inform current practice. Inspired by the work of the late David Johnston (1948-2017), the conference included a screening of a video made during Johnston’s tenure as director of Theatre Centre (1977-1986), provocations from leading practitioners in the field, debate and discussion. Contributors include: Daryl Beeton (Daryl Beeton Productions), Deborah Bestwick (Ovalhouse), Danny Braverman (Goldsmiths), Raidene Carter/Natalie Wilson (Theatre Centre), Ava Hunt (Derby University), Vicky Ireland MBE (Association of Children's Arts), Caleb Lee (Five Stones Theatre), Roy Williams OBE (Playwright) The event was organised...
On November 20th 2012, Emergency Exit Arts and Shape put together The Secret’s OUT! at Stratford ... more On November 20th 2012, Emergency Exit Arts and Shape put together The Secret’s OUT! at Stratford Circus, an action day looking at Deaf and disabled artists’ contribution to outdoor arts. The day was the culmination of Diversifying Outdoor Arts, a strategic project supported by the Arts Council. This report captures the main discussions and themes of the day: it serves not just as an account, but also as a signpost for the future. There was a unique flowering of disability arts in 2012, largely boosted by the additional resources and aspirations of the London Paralympic Games and Cultural Olympiad. The extraordinary global impact of the UK’s disability arts scene in 2012 (over 1 billion people saw the Opening Ceremony of the Paralympics) did not emerge from a standing start, but resulted from years of development by grass roots arts organisations, significant investment and strategic support from Arts Council England and the passion and vision of individual artists.
Danny Braverman is interviewed as part of Spare Tyre's 40th Birthday archive project, discuss... more Danny Braverman is interviewed as part of Spare Tyre's 40th Birthday archive project, discussing disability arts.
Danny Braverman and Ava Hunt explore the assertion that TYA in schools can play a significant rol... more Danny Braverman and Ava Hunt explore the assertion that TYA in schools can play a significant role in addressing the mental health crisis affecting young people in the UK, with implications globally. There is growing consensus that the current mental health crisis is impacting on attainment. However, government remains reluctant to recognise the value of arts education in schools, as narrow instrumentalism continues to feed the ‘exam factory’. This paper proposes not just a reinvigoration of professional TYA in schools, but also a framework to evaluate ‘quality’. Braverman’s Dialogue Across Difference, inspired by the work of Jill Dolan (2008)/Victor Turner (2011), uses the exemplar of Theatre Centre UK. David Johnston’s (Artistic Director 1977-1986), leadership is placed within this framework to explore Hunt’s practice-as-research project Journeys of Destiny (2019). The authors reframe the notion of ‘resilience’ as a community-social paradigm in contrast to an individualistic-medic...
In this article Danny Braverman considers the legacy of his late mentor David Johnston, the pione... more In this article Danny Braverman considers the legacy of his late mentor David Johnston, the pioneering producer of Theatre for Young Audiences (TYA). Prompted by a symposium at Derby Theatre in February 2018, he reflects on how Johnston’s innovations as Artistic Director of the TYA company Theatre Centre (1977-1986) can inform current debates about professional theatre in schools. Through analysis of a re-discovered 1986 documentary film about Theatre Centre and a re-examination of David Holman’s influential play Peacemaker (1982), Braverman argues that the TYA theatre-makers of the ‘80s were part of a radical, democratic movement that can inform the creation of an alternative to current neoliberal practices. Finally, in recognition that Johnston’s central talent was to apply democratic principles to fluctuating contexts, the author proposes some recommendations for current UK TYA in his spirit.
A series of 5 workshops collaborating with volunteer disabled and non-disabled undergraduates exp... more A series of 5 workshops collaborating with volunteer disabled and non-disabled undergraduates exploring inclusive methodologies for understanding key theory. Using methodologies drawn from Drama-in-Education (Heathcote, Boal, Neelands et al) and inclusive theatre practice, we will explore the effectiveness of alternative pedagogies to traditional seminar and lecture modes to design high quality learning experiences in the teaching of theory. A core aim is to address the needs of disabled students (as defined through the ‘social model’) in an inclusive context.
'Bubble Schmeisis' is a storytelling performance by director-dramaturg Danny Braverman, w... more 'Bubble Schmeisis' is a storytelling performance by director-dramaturg Danny Braverman, with writer/performer Nick Cassenbaum. In the show, Nick Cassenbaum invites you into the warmth of the Canning Town Schvitz, East London’s last authentic bath house. Amongst the steam and ritual Nick takes his audience on a journey to find the place he belongs. Bubble Schmeisis is full of intimate and personal true stories about identity, home and getting schmeised (washed) by old men. It has now toured extensively across the UK, as well as to the USA and as part of the programme for Valetta (European City of Culture, 2018). The published script (Oberon, 2019), contains Braverman's detailed Introduction, outlining the use of his 'dialogue-across-difference' dramaturgical framework in the show's creation
The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Y... more The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Young Audiences). Although much of this work is unheralded, it had an influence that can still be felt today. Pushing The Boundaries was a conference designed for theatre practitioners, educationalists and students that explored how an understanding of the history of TYA can inform current practice. Inspired by the work of the late David Johnston (1948-2017), the conference included a screening of a video made during Johnston’s tenure as director of Theatre Centre (1977-1986), provocations from leading practitioners in the field, debate and discussion. Contributors include: Daryl Beeton (Daryl Beeton Productions), Deborah Bestwick (Ovalhouse), Danny Braverman (Goldsmiths), Raidene Carter/Natalie Wilson (Theatre Centre), Ava Hunt (Derby University), Vicky Ireland MBE (Association of Children's Arts), Caleb Lee (Five Stones Theatre), Roy Williams OBE (Playwright) The event was organised...
Bristol University Press eBooks, May 19, 2022
The mental health crisis is thought to affect 10-20% of children and young people in the world (W... more The mental health crisis is thought to affect 10-20% of children and young people in the world (World Health Organisation, 2019). It is clear that this is something that needs addressing in many ways, but importantly in schools. So, how can Theatre for Young Audiences make a contribution? In this paper, Danny Braverman and Ava Hunt explored how visiting theatre companies can regain a foothold in schools, focusing on the specific example of Hunt's most recent project, 'Journeys of Destiny' and Braverman’s Dialogue-Across-Difference framework. Chiefly, the authors were inspired by the pioneering work of the late Theatre for Young Audiences pioneer, David Johnston. Johnson’s work as Artistic Director of Theatre Centre from 1977 to 1986, presents an approach that can act as an inspiration for today
YouTube, Nov 14, 2013
On the 14 November 2013 Theatre Centre announced Danny Braverman as the winner of the Brian Way A... more On the 14 November 2013 Theatre Centre announced Danny Braverman as the winner of the Brian Way Award for best new play for young audiences for 'Wot? No Fish!!
We are the UK Centre of the International Association of Theatre for Children and Young People, k... more We are the UK Centre of the International Association of Theatre for Children and Young People, known worldwide as ASSITEJ, a network for makers and promoters of professional theatre for young audiences. Under our local name TYA-UK we offer links to theatres, organisations and individual artists around the world. Our members and partners in England, Scotland, Wales and Northern Ireland deliver, support and promote:
Trentham Books (Institute of Education), 2002
Drama is direct and immediate and this book shows how effectively it can be used to support Citiz... more Drama is direct and immediate and this book shows how effectively it can be used to support Citizenship Education, by putting students in someone else`s shoes. It provides inspiration and guidance to teachers and youth group leaders for enabling secondary school students and youth groups to develop their skills for democracy: their oracy, non-verbal communication, listening, debating and public speaking. The section on using plays covers theatre trips, performances by visiting companies, and working on drama texts. Examples of drama exercises follow, in which students devise and share from their own experiences, improve scenes, engage in drama games and work in role. The book includes the text of the author`s own short play, 'Making a Difference', and this is used as a case study to illustrate ways for students to enhance their understanding of government and engage directly with politicians. Playing a Part is for use in secondary schools and with youth groups and out-of-school activities. Drama and English teachers and teachers and teachers of Citzenship will find it a powerful and supportive resource
Bristol University Press, Mar 12, 2021
Despite an abundance of schemes in higher education, disabled students experience disadvantage. I... more Despite an abundance of schemes in higher education, disabled students experience disadvantage. In general, the academy takes its lead from equality legislation and establishes specialist teams to address ‘access’. This places access plans and agreements, typically assembled from a list of mechanisms matched to impairments, at the heart of disabled students’ experiences. This chapter problematises this approach with reference to critical disability studies, exploring how the dominant learning culture of the academy aligns more to the medical than social model of disability. The author explores how possibilities for innovative teaching can be based in the praxis of the growing field of inclusive theatre, anchored in the affirmative model of disability (Swain & French, 2000) and ‘universal design’ (Center for Universal Design, 1997). Through a detailed description of a workshop run by the author on post-colonialism and The Tempest, new ways of working are examined. This practice is grounded on a framework that conceives learning events dramaturgically, where their design takes into account a group’s emotional journeys and their social-bonding as prerequisites for dialogic learning informed by critical pedagogy. Ultimately, the author proposes that the achievement of excellent teaching for all can mirror the best inclusive theatre practice, where access is built-in rather than bolted on, containing multiple points of entry whilst building a strong sense of community
... Actor Antonia Kemi Coker with Sahin Smyth, Ramoe Mitchell, Angelina Radakovic and Shana Murra... more ... Actor Antonia Kemi Coker with Sahin Smyth, Ramoe Mitchell, Angelina Radakovic and Shana Murray from George Mitchell School Designed and typeset ... raised will dig below the surface into fundamental questions of human rights; eg following a performance of Mikey's story in ...
A blog by Danny Braverman reflecting his journey as a theatre-maker working with socially-engaged... more A blog by Danny Braverman reflecting his journey as a theatre-maker working with socially-engaged practice and prompted by his solo show 'Wot? No Fish!!'
Since evaluating his critically-acclaimed solo show 'Wot? No Fish!!', Danny Braverman has... more Since evaluating his critically-acclaimed solo show 'Wot? No Fish!!', Danny Braverman has been developing 'Dialogue-across-Difference', a dramaturgical framework designed for theatre-makers, scholars and students. Initially envisaged to inform theatre-making processes, it is now also being used for performance analysis and to evaluate participatory experiences. Inspired by the research of marketing agency Morris Hargreaves MacIntyre, 'Dialogue-across-Difference' explores the combination of the social, educational, emotional and spiritual dimensions to performance experiences. The over-arching aim of this research strand is to explore ways that performance experiences can bring together people from different backgrounds and experiences. The framework has been used to inform Braverman's own theatre-making as Director of Nick Cassenbaum's 'Bubble Schmeisis', Writer of the youth musical 'Something Inside So Strong' and Co-writer/Director o...
Premiere of new show with Nick Cassenbaum, exploring the life and work of entertainer Michael Bar... more Premiere of new show with Nick Cassenbaum, exploring the life and work of entertainer Michael Barrymore.
'Something Inside So Strong' is a practice-as-research project, exploring how a youth mus... more 'Something Inside So Strong' is a practice-as-research project, exploring how a youth musical can best be used for learning in both formal (school/college) and informal settings. Based on the songs of Labi Siffre, playwright Danny Braverman ran collaborative workshops with young people to create the musical. Informed by critical pedagogy, intersectionality and the author's own evolved dramaturgical framework, 'Something Inside So Strong' challenges reliance on the existing canon of commercial musicals, to create joyful, and moving performance events, rich in learning.
The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Y... more The mid- to late- 20th Century saw the flourishing of a pioneering movement in TYA (Theatre for Young Audiences). Although much of this work is unheralded, it had an influence that can still be felt today. Pushing The Boundaries was a conference designed for theatre practitioners, educationalists and students that explored how an understanding of the history of TYA can inform current practice. Inspired by the work of the late David Johnston (1948-2017), the conference included a screening of a video made during Johnston’s tenure as director of Theatre Centre (1977-1986), provocations from leading practitioners in the field, debate and discussion. Contributors include: Daryl Beeton (Daryl Beeton Productions), Deborah Bestwick (Ovalhouse), Danny Braverman (Goldsmiths), Raidene Carter/Natalie Wilson (Theatre Centre), Ava Hunt (Derby University), Vicky Ireland MBE (Association of Children's Arts), Caleb Lee (Five Stones Theatre), Roy Williams OBE (Playwright) The event was organised...
On November 20th 2012, Emergency Exit Arts and Shape put together The Secret’s OUT! at Stratford ... more On November 20th 2012, Emergency Exit Arts and Shape put together The Secret’s OUT! at Stratford Circus, an action day looking at Deaf and disabled artists’ contribution to outdoor arts. The day was the culmination of Diversifying Outdoor Arts, a strategic project supported by the Arts Council. This report captures the main discussions and themes of the day: it serves not just as an account, but also as a signpost for the future. There was a unique flowering of disability arts in 2012, largely boosted by the additional resources and aspirations of the London Paralympic Games and Cultural Olympiad. The extraordinary global impact of the UK’s disability arts scene in 2012 (over 1 billion people saw the Opening Ceremony of the Paralympics) did not emerge from a standing start, but resulted from years of development by grass roots arts organisations, significant investment and strategic support from Arts Council England and the passion and vision of individual artists.
Danny Braverman is interviewed as part of Spare Tyre's 40th Birthday archive project, discuss... more Danny Braverman is interviewed as part of Spare Tyre's 40th Birthday archive project, discussing disability arts.
Danny Braverman and Ava Hunt explore the assertion that TYA in schools can play a significant rol... more Danny Braverman and Ava Hunt explore the assertion that TYA in schools can play a significant role in addressing the mental health crisis affecting young people in the UK, with implications globally. There is growing consensus that the current mental health crisis is impacting on attainment. However, government remains reluctant to recognise the value of arts education in schools, as narrow instrumentalism continues to feed the ‘exam factory’. This paper proposes not just a reinvigoration of professional TYA in schools, but also a framework to evaluate ‘quality’. Braverman’s Dialogue Across Difference, inspired by the work of Jill Dolan (2008)/Victor Turner (2011), uses the exemplar of Theatre Centre UK. David Johnston’s (Artistic Director 1977-1986), leadership is placed within this framework to explore Hunt’s practice-as-research project Journeys of Destiny (2019). The authors reframe the notion of ‘resilience’ as a community-social paradigm in contrast to an individualistic-medic...
In this article Danny Braverman considers the legacy of his late mentor David Johnston, the pione... more In this article Danny Braverman considers the legacy of his late mentor David Johnston, the pioneering producer of Theatre for Young Audiences (TYA). Prompted by a symposium at Derby Theatre in February 2018, he reflects on how Johnston’s innovations as Artistic Director of the TYA company Theatre Centre (1977-1986) can inform current debates about professional theatre in schools. Through analysis of a re-discovered 1986 documentary film about Theatre Centre and a re-examination of David Holman’s influential play Peacemaker (1982), Braverman argues that the TYA theatre-makers of the ‘80s were part of a radical, democratic movement that can inform the creation of an alternative to current neoliberal practices. Finally, in recognition that Johnston’s central talent was to apply democratic principles to fluctuating contexts, the author proposes some recommendations for current UK TYA in his spirit.
A series of 5 workshops collaborating with volunteer disabled and non-disabled undergraduates exp... more A series of 5 workshops collaborating with volunteer disabled and non-disabled undergraduates exploring inclusive methodologies for understanding key theory. Using methodologies drawn from Drama-in-Education (Heathcote, Boal, Neelands et al) and inclusive theatre practice, we will explore the effectiveness of alternative pedagogies to traditional seminar and lecture modes to design high quality learning experiences in the teaching of theory. A core aim is to address the needs of disabled students (as defined through the ‘social model’) in an inclusive context.