'Better Out Than In': Representations of Women's Experiences of Mental Health Systems in Contemporary British Drama (original) (raw)
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"Antic Dispositions?": The Representation of Madness in Modern British Theatre
This thesis examines how mental illness has been represented in British theatre from c. 1960 to the present day. It is particularly concerned with the roles played by space and embodiment in these representations, and what emerges as bodies interact in space. It adopts a mixed methodology, drawing on theoretical models from both continental philosophy and contemporary cognitive and neuroscientific research, in order to address these questions from the broadest possible range of perspectives. The first part of the thesis draws on the work of Michel Foucault and Henri Lefebvre to explore the role of institutional space, and in particular its gendered implications, in staging madness. The second part introduces approaches to the body drawn from the cognitive turn in theatre and performance studies. These are connected to the approaches of the first section through phenomenology’s concern with lived experience. Dan Zahavi and Shaun Gallagher’s work on ‘the phenomenological mind’ provides important context here. In addition, Emmanuel Levinas’s critique of ontology offers a solid basis from which to think about how to act ethically as both a producer of, and an audience member for, representations of mental illness. Through these explorations, this thesis suggests a model of madness, not as something to be bracketed as ‘other’ and belonging to a deviant individual, but as emerging between bodies in space – there is no madness outside of social, spatial and embodied contexts. This in turn suggests a new approach to understanding the role theatre can play in addressing the lived experience of mental illness. While many productions currently attempt, unilaterally, to reduce the ‘stigma’ of mental illness, this thesis suggests that, in fact, discrimination against people experiencing mental illness is more likely to be reduced through the interaction between an ethically minded production and an ethical spectator. Such a model does not claim to be able to reduce the experience of madness to a totalising concept which can be communicated through theatre, but rather insists that it is only through an embodied, empathic interaction that a true concern for the (‘mad’ or ‘sane’) Other can emerge.
The talk presents the stages of a developing art-based cross-disciplinary research project. The study is an experiment of devising monologues about mental health with special focus on bi-polar disorder and the role of the carer. It uses the symptomatology of psychiatry and clinical studies to inform the representation of a female patient character and her carer. The practical work included in the study is undertaken with Newman University College drama students within the Community & Applied Drama Laboratory (CAD/Lab).The talk includes aims, methodology, the devising process, extracts from the monologues and conclusions.
Mental Illness Through Popular Theatre: Performing (In)Sanely
This chapter explores the transgressive and liberatory learning and creativity of popular theatre when the freedom and power to imagine and raise awareness is placed in the interacting bodymind relationships of a group living with multiple psychiatric diagnoses.
Scottish Journal of Performance, 2013
This article uses the ideas of ‘strategy’ and ‘tactics’ drawn from Michel de Certeau’s The Practice of Everyday Life in order to examine two specific Scottish performances and determine their conception of mental illness, their approach to performance, and how these performances relate to the structures surrounding them. The first, The Wonderful World of Dissocia, was written by Anthony Neilson, premièred at the Edinburgh International Festival in 2004, and was directly supported by the Scottish Executive’s National Programme for Improving Mental Health and Well Being. The second, Does Anyone Know, is a short film resulting from work with prisoners with mental health problems in the High Dependency Unit at HMP Edinburgh by the charity Theatre NEMO, and includes performances by prisoners themselves. Taken together, these performances give some sense of the contingent position of performances of mental illness, the ways in which actors, writers, and service users act within the structures of theatres, prisons, and hospitals, to work around and within the ‘strategies’ which constitute psychiatric discourse.
The paper describes an approach to theatre as an educational intervention in society linking the artist, the psychiatrist, and social groups with an interest in mental illness. An exploration of narratives and diagnostic criteria from psychiatric case studies led to the creation of two dramatic monologues focusing on awareness and impact of bipolar disorder on intimate personal relationships, particularly on the evolving transactional roles between the partner/caregiver and partner/patient. The paper argues that devised performance based on themes and characters that emerge from within the field of psychiatry may be used to address perceptions of mental illness and stigma for general community audiences. It concludes that psychiatrically informed material can be successfully translated into original dramatic performances to address current educational and social issues and raise social awareness in thought-provoking and stimulating ways to members of the public. Keywords: Devised Theatre, Mental Illness, Stigma
The paper describes an approach to theatre as an educational intervention in society linking the artist, the psychiatrist, and social groups with an interest in mental illness. An exploration of narratives and diagnostic criteria from psychiatric case studies led to the creation of two dramatic monologues focusing on awareness and impact of bipolar disorder on intimate personal relationships, particularly on the evolving transactional roles between the partner/caregiver and partner/patient. The paper argues that devised performance based on themes and characters that emerge from within the field of psychiatry may be used to address perceptions of mental illness and stigma for general community audiences. It concludes that psychiatrically informed material can be successfully translated into original dramatic performances to address current educational and social issues and raise social awareness in thought-provoking and stimulating ways to members of the public.
The Madness Narrative, Between the Literary, the Therapeutic and the Political
Romanian Journal of English Studies, 2013
The present paper discusses the types, functions and limitations of the madness narrative, a particular type of text dealing with a popular research topic: mental instability, within the larger contexts of women’s autobiographical writing and illness-based writing. The overview aims to provide the theoretical framework necessary for the further analysis of specific madness narratives.
There's the record, closed and final': Rough for Theatre II as Psychiatric Encounter
The Journal of medical humanities, 2016
A co-authored collaboration between a theatre practitioner and a clinical psychiatrist, this paper will examine Rough for Theatre II (RFTII) and Beckett's demonstration of the way records are used to understand the human subject. Using Beckett's play to explore interdisciplinary issues of embodiment and diagnosis, the authors will present a dialogue that makes use of the 'best sources' in precisely the same manner as the play's protagonists. One of those sources will be Beckett himself, as Heron will locate the play in its theatrical context through reflections upon his own practice (with Fail Better Productions, UK) as well as recent studies such as Beckett, Technology and the Body (Maude 2009) and Performing Embodiment in Samuel Beckett's Drama (McMullan 2010); another source will be the philosopher Wilhelm Windleband, whose 1901 History of Philosophy was read and noted upon by Beckett in the 1930s, as Broome will introduce a philosophical and psychiatric c...