PLAYBACK THEATRE (original) (raw)
Related papers
Crossing the Threshold: Tensions of Participation in Playback Theatre
2000
The nontraditional style and appearance of Playback Theatre can be surprising for some. Contained by a simple accessible ritual structure it is a unique audience experience offering the possibility of participation. This introduces a challenge for some that is further compounded,by the central place of personal storytelling. It is the repeated invitation to tell a story that drives the
Playback theatre as art formfrom the point of view of arts education
Wo Geschichten sich begegnenGathering Voices
80 Prof. Dr. Anna-Lena Østern University of Trondheim, NTNU, Norwegen Playback theatre as art form from the point of view of arts education In this article I will make an attempt to describe characteristic features of playback theatre as art form. I use knowledge from art research ...
Playback Theatre: audience's thinking
Playback theatre is the spontaneous, instantaneous and unscripted presentation of vignettes, performed in conventional and unconventional venues, which functions under the premise that the telling of oral stories, when presented with specifically delineated elements, and when performed in interactive ways, is, in fact, an art form. Studies on Playback Theatre have focused on its use and effects in different scenarios: education, social intervention, health, psychotherapy and other similar organizations. However, there has been little focus on the emotional and intellectual processes of the audience members. The aim of this study, therefore, is to use quantitative methodology to establish: the level of satisfaction and perceived benefits of audiences after their Playback Theatre sessions; what they believe the uses of the form could be, to identify the feelings provoked by the narration of stories; and to substantiate quality participation and experiences during the performances. Resumen. El teatro playback es una forma original de teatro sin texto previo, improvisado, en la que algunos espectadores voluntariamente relatan sus historias personales, que filtradas a través del ritual y la estética del teatro, son inmediatamente dramatizados por los actores y los músicos. Desde sus inicios, la intención de los fundadores de esta modalidad teatral fue la de generar comunidad. Los estudios sobre el teatro playback se han centrado en su uso y efectos en diferentes escenarios (educación, ciencias de la salud, intervención social, psicoterapia y organizaciones). Pero no se ha puesto el énfasis en conocer el pensamiento de los asistentes a este teatro tan peculiar. Como citar: Motos Teruel, Tomás, Álamo Serrano, Jaime, Lee Fields, Donna, Ortega Comes, Pilar, Playback Theatre: audience’s thinking.Razón y Palabra [en linea] 2015, 19 (Diciembre-Sin mes) : [Fecha de consulta: 27 de junio de 2017] Disponible en:http://www.redalyc.org/articulo.oa?id=199543036027 ISSN 1605-4806
CROSSING THE THRESHOLD Tensions of Participation in Community-Based Playback Theatre Performance
Journal of Interactive Drama (ISSN 1994-1250) Volume 2.1, pp. 56-70, 2007
Contained by a simple accessible ritual structure playback theatre offers a unique audience experience with the possibility of participation. The opportunity to participate introduces a challenge for some. This can be further compounded by the central place of personal storytelling. It is the repeated invitation to tell a story that drives the ritual momentum in the playback theatre performance. Audience members sit with the constant possibility of volunteering, while some are preoccupied with a persistent reluctance to tell. This 'tension of participation' could be considered the more potent tension underpinning audience members' experiences in the playback theatre event - perhaps more than the dramatic tensions emerging from the performative acts of storytelling and enacting.
Playback theatre, industrial city and community building
This paper reports on a project where Playback Theatre—a form of applied theatre—was introduced to a group of Australian 13 year old students at Industrial City High School. The experience is illuminated through the observations of the students, the class teacher, and workshop leaders.
Storytelling, Agency and Community-building through Playback Theatre in Palestine
SOAS Journal of Postgraduate Research, 2014
According to its initiator, Jonathan Fox, Playback Theatre is a kind of theatre which comes back to theatre’s ”earlier purpose of preserving memory and holding the tribe together” (Fox 2000, n. p.). Playback Theatre blurs the boundaries between performer and audience and connects different individual stories with a broader collective framework, allowing a phenomenological understanding of personal events. My paper aims to explore how Playback Theatre progressively builds a collective narrative starting from individual stories. It does this within the Palestinian context through some practical examples of my experience touring with the ‘Freedom Bus’. In this sense, I want to question how the re-enactment of the shared and yet individual experience can potentially strengthen community identity, and, at the same time, how this process of ‘community building’ may be doubly mediated, first by the actors who ‘translate’ the narration into theatrical language, and secondly by the audiences who witnesses this translation and anchor the community in a reiterative narrative of trauma.
This thesis explores Playback Theatre (PBT) as a site for learning and healing, with meaning-making as the linking dynamic. This is done through: 1. the researcher’s own meaning-making of a performance; 2. a model locating PBT at the nexus of Narrative, Performance, Health and Education. 3. an analytical heuristic where the propositions implicit in the literature were made explicit, and used to search for empirical evidence using the lived experience of its participants; and, 4. the development of an emergent theory of PBT that was informed by this evidence. The research questions are in two categories— Empirical and Theoretical. The empirical questions asked about the lived experience of PBT, and the associated process of meaning-making. These questions were then re-ordered and expanded in light of the data, to include: what is inherent in the form that might make it rich with potential for learning-healing, processes used to work towards this potential, and impacts these may have on the social-emotional lives of participants. The empirical research covered one five month and one six month period. It involved interviewing 47 participants from nine performances and videoing rehearsals and a public performance. The investigation is post-positivistic and broadly humanistic using mixed methods: Phenomenology, Phenomenography and Grounded Theory. The theoretical propositions are established through review of literature, and NUD*IST (4) used to examine these in light of the interview data. As the propositions were supported by empirical evidence, they were used to construct an emergent theory of PBT. At the heart of this theory is a process of meaning-making. It asserts “telling”, “witnessing”, and “modelling” as essential elements of PBT and these activate individual and group learning that gives rise to new meanings. This can lead to emotional healing. The theory also asserts that healing increases potential for additional learning to occur because it makes telling, witnessing and modelling more salient. It is finally argued that the efficacy of PBT as a vehicle for meaning-making and, hence, learning-healing, reflects the particular social-aesthetic context of PBT. Suggestions are made regarding contributions that PBT can make to Education, and questions posed for future research.
Using Playback Theater with Adolescents in Refugee Camps in Palestine to Tell Their Stories
2020
This research aimed at examining the aspects of Playback Theater and how it was experienced by Palestinian adolescents living under the Israeli occupation. Sixteen Palestinian adolescents between the ages of 15 and 16 participated in this study and came from the same school and the same refugee camp although many did not know each other. A Palestinian trainer/conductor who specialized in Playback Theater and who had work experience with adolescents and conducted a 16 session training program designed to teach adolescents about this interactive theatre form. Data collected included the researcher’s observation notes, video tapes that documented the details of all sessions, including a final performance for the adolescents’ mothers and friends. Personal one-to-one evaluation meetings with the participants were conducted, a phone call evaluation with the mothers, and a mid-term and final evaluation meeting with the trainer were other sources of data. All materials collected and recorde...