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Papers by Jo Ronan
This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Mar... more This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Marx’s theory of capital, with a particular focus on cooperation. The purpose of the experiment was to develop a model for non-hierarchical collaborative theatre premised on collective ownership. My personal experience of collaborations and the literature in this field pointed to an erosion of the political roots of the theatre collectives formed in the 1950s and 1960s. Since then collaboration has come to reflect capitalist modes of production, characterised by hierarchy and utility, distancing it from its earlier intentions to promote equality in the making of theatre. By interrogating Marx’s theory of capital through practice, I suggest possibilities for reclaiming shared ownership in collaborative theatre-making. While the argument for ownership originates from capital and cooperation, it is developed through a theoretical and practical engagement with Engels’ three laws of the dialecti...
PARtake: The Journal of Performance as Research, 2021
This article discusses the complexities of Practice as Research (PAR) with a view to claiming its... more This article discusses the complexities of Practice as Research (PAR) with a view to claiming its rightful place as a critical site for the development performance pedagogy. It argues for the indivisibility of truth and pedagogy. It proposes Dialectical Collaborative Theatre (DCT), original methodology developed to accommodate/embrace the chaos, uncertainties and tensions associated with PAR, in its pursuit for truth and new knowledge. Early PAR publications unpacked notions of praxis - Nelson’s (2006) “theory imbricated within practice” and Barrett and Bolt’s (2007) edited collection premised on thinking materially. Follow-on publications developed meanings for praxis to include pedagogical imperatives – paradigms for creative research (Smith and Dean 2011; Kershaw 2011; Chapman and Sawchuk 2012), PAR intersections with philosophy (May 2015; Schultis 2019) and applied theatre (Mackey 2016; Liang 2019). Committed to similar imperatives, I developed DCT with a collective I formed in 2011 (www.BloodWaterTheatre.co.uk) to explore possibilities for non-hierarchical theatre production. Using a Marxist framework, I identify capital and cooperation to be the primary dialectic of capitalist economy and transpose this to the product/process dialectic in theatre-making. By applying Engels’ (1940) three laws of the dialectic to the process/product dialectic, I learn a theoretical and practical route to developing ownership in collaborative theatre. By engaging with Badiou’s (2005) theory of truth in developing my research paradigm, I discover the imbrication of truth within pedagogy, that the actualization of one is not possible without the other. I propose that in order to progress alternative ways of producing and disseminating knowledge, it is necessary to explore the relationship between pedagogy and truth in developing PAR paradigms.
Performing Ethos: International Journal of Ethics in Theatre & Performance, 2021
This article discusses the relationship between ethics and ideology and how this relationship for... more This article discusses the relationship between ethics and ideology and how this relationship forms the basis of the practice of BloodWater Theatre, a collective I formed to explore equality in collaborative theatre-making. I highlight the prevalence of inequality, even in oppositional theatre, and argue for Dialectical Collaborative Theatre (DCT), a research/production/performance methodology I developed to interrupt hegemonic collaborative theatre practice. I discuss the development of DCT, derived from Marx’s theory of ‘capital’ and ‘cooperation’, analysing BloodWater Theatre’s practical exploration of the tensions between performance as product and as process. I propose a rethinking of the enduring association of ‘utility’ with capitalist objectives of productivity and profit, proposing instead Bentham’s ethical formulations of utility. I argue that the relationship between material and non-material ideology should be explored, to facilitate utopian ideals and reposition ethics ...
Theatre, Dance and Performance Training, 2020
Inclusivity and Equality in Performance Training, 2021
PARtake: The Journal of Performance as Research, 2021
As part of my practice-based doctoral thesis, I designed an experiment to develop a model of coll... more As part of my practice-based doctoral thesis, I designed an experiment to develop a model of collaborative theatre-making based on collective ownership, in contrast to prevailing hierarchical collaborative practice, where artistic vision lies mainly with the director, and divisions of labour dominate. I conducted the experiment in the real world of rehearsals and performances with a theatre collective I established for this purpose. In this article I discuss my Marxist framework, justifying why I believe capital and cooperation to be the primary dialectic of cultural economy, at the root of the hegemony of hierarchical collaborative theatre. I identify the relationship between Marxist theory and Alain Badiou’s (2005) disruption of the status quo via ‘truth’, as well as and Baz Kershaw’s (2011) essential components for PAR, premised on dialectical paradoxes. I discuss Dialectical Collaborative Theatre (DCT), the original research, rehearsal and performance pedagogy I developed in res...
Thesis Chapters by Jo Ronan
PhD Thesis, 2018
This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Mar... more This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Marx’s theory of capital, with a particular focus on cooperation. The purpose of the experiment was to develop a model for non-hierarchical collaborative theatre premised on collective ownership. My personal experience of collaborations and the literature in this field
pointed to an erosion of the political roots of the theatre collectives formed in the 1950s and 1960s. Since then collaboration has come to reflect capitalist modes of production, characterised by hierarchy and utility, distancing it from its earlier intentions to promote equality in the making of theatre. By interrogating Marx’s theory of capital through practice, I suggest possibilities for reclaiming shared ownership in collaborative theatre-making. While the argument for ownership originates from capital and cooperation, it is developed through a theoretical and practical engagement with Engels’ three laws of the dialectic. I identify capital and cooperation to be the primary dialectic of capitalist economy and transpose this to the product/process dialectic in theatre-making. By applying the laws of the dialectic to the process/product dialectic, I discover a theoretical route to developing ownership in collaborative theatre. I test and refine this in practice with BloodWater Theatre, a collective of artists I formed for the purpose. I name my theory and our practice Dialectical Collaborative Theatre. The findings of this research materialise from BloodWater Theatre’s practice of Dialectical
Collaborative Theatre over the three years when we created Whose Story Is It Anyway? and Leave Your Shoes at the Door, performed at the Tron Theatre and the Centre for Contemporary Arts in Glasgow, respectively. Through observations, video diary reflections, focus group/audience feedback and dialectical analysis, I suggest how we came to own the
processes and products of our labour. It is not my intention to replace capitalist modes of theatre production. These have their place. Dialectical Collaborative Theatre works within the capitalist cultural economy but it challenges its systems of production and proposes an alternative way of making theatre, working with and against normative cultural production. I
hope this practice as research thesis opens up conversations and new practice which interrupt prevalent hegemonic utility-led collaborative theatre practice.
This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Mar... more This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Marx’s theory of capital, with a particular focus on cooperation. The purpose of the experiment was to develop a model for non-hierarchical collaborative theatre premised on collective ownership. My personal experience of collaborations and the literature in this field pointed to an erosion of the political roots of the theatre collectives formed in the 1950s and 1960s. Since then collaboration has come to reflect capitalist modes of production, characterised by hierarchy and utility, distancing it from its earlier intentions to promote equality in the making of theatre. By interrogating Marx’s theory of capital through practice, I suggest possibilities for reclaiming shared ownership in collaborative theatre-making. While the argument for ownership originates from capital and cooperation, it is developed through a theoretical and practical engagement with Engels’ three laws of the dialecti...
PARtake: The Journal of Performance as Research, 2021
This article discusses the complexities of Practice as Research (PAR) with a view to claiming its... more This article discusses the complexities of Practice as Research (PAR) with a view to claiming its rightful place as a critical site for the development performance pedagogy. It argues for the indivisibility of truth and pedagogy. It proposes Dialectical Collaborative Theatre (DCT), original methodology developed to accommodate/embrace the chaos, uncertainties and tensions associated with PAR, in its pursuit for truth and new knowledge. Early PAR publications unpacked notions of praxis - Nelson’s (2006) “theory imbricated within practice” and Barrett and Bolt’s (2007) edited collection premised on thinking materially. Follow-on publications developed meanings for praxis to include pedagogical imperatives – paradigms for creative research (Smith and Dean 2011; Kershaw 2011; Chapman and Sawchuk 2012), PAR intersections with philosophy (May 2015; Schultis 2019) and applied theatre (Mackey 2016; Liang 2019). Committed to similar imperatives, I developed DCT with a collective I formed in 2011 (www.BloodWaterTheatre.co.uk) to explore possibilities for non-hierarchical theatre production. Using a Marxist framework, I identify capital and cooperation to be the primary dialectic of capitalist economy and transpose this to the product/process dialectic in theatre-making. By applying Engels’ (1940) three laws of the dialectic to the process/product dialectic, I learn a theoretical and practical route to developing ownership in collaborative theatre. By engaging with Badiou’s (2005) theory of truth in developing my research paradigm, I discover the imbrication of truth within pedagogy, that the actualization of one is not possible without the other. I propose that in order to progress alternative ways of producing and disseminating knowledge, it is necessary to explore the relationship between pedagogy and truth in developing PAR paradigms.
Performing Ethos: International Journal of Ethics in Theatre & Performance, 2021
This article discusses the relationship between ethics and ideology and how this relationship for... more This article discusses the relationship between ethics and ideology and how this relationship forms the basis of the practice of BloodWater Theatre, a collective I formed to explore equality in collaborative theatre-making. I highlight the prevalence of inequality, even in oppositional theatre, and argue for Dialectical Collaborative Theatre (DCT), a research/production/performance methodology I developed to interrupt hegemonic collaborative theatre practice. I discuss the development of DCT, derived from Marx’s theory of ‘capital’ and ‘cooperation’, analysing BloodWater Theatre’s practical exploration of the tensions between performance as product and as process. I propose a rethinking of the enduring association of ‘utility’ with capitalist objectives of productivity and profit, proposing instead Bentham’s ethical formulations of utility. I argue that the relationship between material and non-material ideology should be explored, to facilitate utopian ideals and reposition ethics ...
Theatre, Dance and Performance Training, 2020
Inclusivity and Equality in Performance Training, 2021
PARtake: The Journal of Performance as Research, 2021
As part of my practice-based doctoral thesis, I designed an experiment to develop a model of coll... more As part of my practice-based doctoral thesis, I designed an experiment to develop a model of collaborative theatre-making based on collective ownership, in contrast to prevailing hierarchical collaborative practice, where artistic vision lies mainly with the director, and divisions of labour dominate. I conducted the experiment in the real world of rehearsals and performances with a theatre collective I established for this purpose. In this article I discuss my Marxist framework, justifying why I believe capital and cooperation to be the primary dialectic of cultural economy, at the root of the hegemony of hierarchical collaborative theatre. I identify the relationship between Marxist theory and Alain Badiou’s (2005) disruption of the status quo via ‘truth’, as well as and Baz Kershaw’s (2011) essential components for PAR, premised on dialectical paradoxes. I discuss Dialectical Collaborative Theatre (DCT), the original research, rehearsal and performance pedagogy I developed in res...
PhD Thesis, 2018
This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Mar... more This thesis is developed from an experiment undertaken between 2011 and 2014. It interrogates Marx’s theory of capital, with a particular focus on cooperation. The purpose of the experiment was to develop a model for non-hierarchical collaborative theatre premised on collective ownership. My personal experience of collaborations and the literature in this field
pointed to an erosion of the political roots of the theatre collectives formed in the 1950s and 1960s. Since then collaboration has come to reflect capitalist modes of production, characterised by hierarchy and utility, distancing it from its earlier intentions to promote equality in the making of theatre. By interrogating Marx’s theory of capital through practice, I suggest possibilities for reclaiming shared ownership in collaborative theatre-making. While the argument for ownership originates from capital and cooperation, it is developed through a theoretical and practical engagement with Engels’ three laws of the dialectic. I identify capital and cooperation to be the primary dialectic of capitalist economy and transpose this to the product/process dialectic in theatre-making. By applying the laws of the dialectic to the process/product dialectic, I discover a theoretical route to developing ownership in collaborative theatre. I test and refine this in practice with BloodWater Theatre, a collective of artists I formed for the purpose. I name my theory and our practice Dialectical Collaborative Theatre. The findings of this research materialise from BloodWater Theatre’s practice of Dialectical
Collaborative Theatre over the three years when we created Whose Story Is It Anyway? and Leave Your Shoes at the Door, performed at the Tron Theatre and the Centre for Contemporary Arts in Glasgow, respectively. Through observations, video diary reflections, focus group/audience feedback and dialectical analysis, I suggest how we came to own the
processes and products of our labour. It is not my intention to replace capitalist modes of theatre production. These have their place. Dialectical Collaborative Theatre works within the capitalist cultural economy but it challenges its systems of production and proposes an alternative way of making theatre, working with and against normative cultural production. I
hope this practice as research thesis opens up conversations and new practice which interrupt prevalent hegemonic utility-led collaborative theatre practice.