Theatre of Trauma (original) (raw)
Related papers
Theater, Trauma, and the Rehearsal to Recovery
2020
Using theoretical concepts, Missy talks about the ways that theater provides a platform for healing. Speaker: Missy Maramara holds a Master of Fine Arts in Drama (Performance) from the University of Arkansas in Fayetteville through the International Fulbright Scholarship Program. She also trained at the L\u27École Internationale de Théâtre Jacques Lecoq in Paris and at Tectonic Theater Project in New York City. A Filipino actress with television and film credits, Missy is primarily a theater actress with local and international performances. She has worked with Tanghalang Pilipino, New Voice Company, Repertory Philippines, PETA and Dulaang UP. She performed her solo shows Love Liz and Clytemnestra in the New York United Solo Festival, and toured Clytemnestra around Europe and the United States. Missy has performed in festivals and conferences in New York, Paris, Berlin and Prague. She is a tenured Assistant Professor in the Fine Arts and English Departments of the Ateneo de Manila U...
‘Why me?’ Trauma through a Performance Lens: Performance through a Trauma Lens (Book Chapter)
The Strangled Cry: The Communication and Experience of Trauma , 2013
Originally constructed as a performance piece, this work invites discussion of the uncomfortable, but nonetheless delightful, differences and similarities of interpretation of the discipline-specific methodologies of performance and therapy. Using three case studies we consider the performance of trauma: as the replication of experience; it’s effect on the maker, the performer and the audience of the work; and questions that touch upon power, perception and interpretation; and, the implication that psychological safety and ethics inherent in the reciprocal sharing of such powerful materials is questionable.
Pedagogies of Self-Humanization: Collaborating to Engage Trauma in the Phoenix Players Theatre Group
Teaching Artist Journal, 2017
The Phoenix Players Theatre Group was founded by incarcerated theatre artists located in a maximum-security prison with the aim of creating a space where they can be witnessed in order to initiate a process of personal, cultural, and sociopolitical transformation. This article integrates research from trauma theory with theatre and social justice studies, in addition to the archive of written material by the Phoenix Players themselves, to understand how practicing collaborative prison theatre to cope with traumatic experiences constitutes a pedagogy of self-narrating, self-teaching, and self-humanizing.
Enabling the Ongoing Life of Therapeutic Theatre: A Case Study of Positively Shameless
Journal of Dramatic Theory and Critisism, 2021
Shilpa Waghmare is a counselling psychologist in private practice. She does research, writing and training that's located at the intersection of Theology and Psychology. She lives in Bangalore with her husband, two daughters and two dogs. Maitri Gopalakrishna, PhD, RDT is a drama therapist, counselling psychologist, theatre-maker and practice researcher. Her current research interests include gender and sexual trauma, therapeutic theatre, and drawing on theories and practices from the Natyashastra in therapeutic work.
Towards a Poor Therapeutic Theatre
2020
This research paper summarizes the personal process of dramatic ritual and its healing effects within the creation of therapeutic theatre while exploring the research question: “How can dramatic rituals deepen the healing effects of therapeutic theatre, and how do performers benefit from ritual in a therapeutic theatre context?”. This paper includes the researcher’s reflections of the autoethnographic method, as explored through ethnographer Richard Schechner's (2011) three steps of naturalism, perception and exploration. This paper goes on to examine how dramatic rituals in therapeutic theatre benefit the self and communities through their inherent structure, safety and healing effects. Throughout the playmaking process the researcher examined rituals by performing them individually; understanding their effects, deepening his connections with his performers/actors, and gaining insight into the relationship between drama therapy and dramatic ritual
Theatre as a Transformative Practice
An exploration into the psychosomatic dynamics of theatre-based practices was undertaken using heuristic methodology (Moustakas, 1990). Twenty-two practitioners, some working independently, others working collaboratively, were interviewed about their approaches, focusing on their experiences of self-expressive performance as a way to work on the self and to induce healing and/or transformative growth. The heuristic approach also allowed for the researcher's direct involvement and participation in the practices under investigation, enabling her to explore firsthand the potential of theatre-based practice as a means to work on the self. Following heuristic methodology, the researcher created a Composite Depiction and a Creative Synthesis, juxtaposing the individual approaches of the research participants and highlighting the core elements of Theatre as a Transformative Practice. In doing so, she proposed that the practices explored facilitate an attunement of ego, some leading to deep, body-based introspection which in turn enables the practitioner to gain greater self-insight and internal balance through expressive engagement with felt senses and corresponding imagery. The researcher further suggested that Theatre as a Transformative Practice requires specific conditions under which the creative journey can lead to healing and personal growth. The chief condition identified was that the work be approached with mindful awareness of others and self in the performative relationship.
Memoirs of the Forgotten Ones was an autobiographical performance presented to the public in March 2007 by a group of adult survivors of institutional childhood abuse and trauma. The performance marked the culmination of ‘Moving On’, a collaborative action research project funded by the Australian Research Council and undertaken in partnership between Griffith University and Relationships Australia. The study explored the potential benefits of using drama and counselling with participants who experienced sexual and/or emotional abuse, trauma and neglect under the Queensland state care system during the 1930s to the 1970s. For 18 months I was engaged in Moving On as facilitator and director, helping participants to bring their experiences from the internal world of memory and trauma, to the external world of the stage. This paper describes the project in terms of its potential to engage participants in a transformative creative process, in which the often destructive internal narratives of individuals were externalised, validated and re-created to make autobiographical theatre.
Introduction. Performing Cultural Trauma in Theatre and Film. Between Representation and Experience
Arcadia - International Journal for Literary Studies, 2011
No description, no picture can restore their true dimension [of the reality of the concentration camps]: endless, uninterrupted fear … Of this brick dormitory, of these threatened sleepers, we can only show you the shell, the shadow. Cultural trauma triggers a 'crisis of representation' in the sense that it disturbs the shared imaginations and representations upon which collective identities are based, while at the same time the trauma itself is undeniably an important part