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Social stigma about sexuality across the life course is pervasive and deeply rooted in “Anglophone West” and patriarchal society that strives to police the sexuality of youth and older adults in diverse yet interconnected ways. Using an Intergenerational and Community-Based Applied Theatre approach to address common misconceptions about sexuality across the life course, I sought to offer a space to share lived experiences of youth and older adults with each other and their community. The community-based project created with the Victoria Target Theatre Society, Victoria High School, and Island Sexual Health Society offers insight into an avenue for social change based on the reactions from collaborators before and after the devising and performance process, in addition to audience responses. Furthermore, these findings can inform action in the form of policy change that aims to address systemic stigmatization of older adult and youth sexuality as well as the lack of education for healthcare providers to offer unbiased care and resources. / Graduate / 2021-04-08

In this dissertation, I advance the question of what it means for applied theatre artists to give voice to the community members with whom they work. The study engages with some of the ethical and aesthetic tensions that emerge when one group of people (artists) is entrusted with giving dramatic form to the lived experience of another group (community members). The central premise of the dissertation is that when community participants increase their independent capacity to devise dynamic and compelling theatre, they achieve greater agency. Using a grounded theory analysis, I theorize qualities and characteristics that contribute to the staging of aesthetically arresting theatre, organized into a conceptual lexicon. This praxis-based study is intended to enable applied theatre practitioners to more directly give voice to their community partners. The dissertation presents a vocabulary that offers community participants and professional artists a mutually understood language with which to engage the power of the theatrical event. / Graduate

In this dissertation, I foreground local elders’ epistemology and ontology embedded in sea rituals and traditional fishing methods in a typhoon-battered community in the Philippines. I do this through the practice of applied theatre to explore agency, relationality, and creativity in the aftermath of a disaster. By locating this dissertation within the intercultural, interdisciplinary, and intersectional applied theatre, I mobilize local disaster narratives by using auto-ethnography, Practice-as-Research, and Participatory Action Research towards the co-creation of local/transnational community-based-theatre performances. These applied theatre performances underscore the solidarity and collective creativity of community members, elders, local government officials, local artists in the Philippines and diasporic Filipinos in Canada. The dissertation engages in personal narrative inquiry, reflective memoir, oral stories, ritual performances, collective creations, archives, and in reclaimed objects to address the existing colonial mode of theorizing theatre and organized post-disaster recovery programs in a local island community decimated by Super Typhoon Yolanda (international name: Haiyan). Cognizant of the complex networks of post-disaster reconstruction, recovery, and planning in local and international spheres of development work, I formulate an applied theatre performance method as a post-disaster mitigative approach stemming from the specter of Super Typhoon Yolanda and other disastrous events wrought by climate crises. This collective and emancipative method emerges from an affective, hybrid, and cross-cultural mode of inquiry to tackle climate change and bring Indigenous ways of knowing into the center of the climate change conversation. I use this method in co-creating performances on local climate crises that critically examines coloniality and cultural misappropriation in an intercultural milieu. I discuss Indigenous ecological epistemology against the backdrop of climate change processes through autoethnographic inquiry and multi-narrative discourse on agentic, performative, and collective performance creations. I argue that Indigenizing the performance method mobilizes a decolonial theatre that broadens, equalizes, and diversifies the climate change dialogue. Informed by the vernacular concepts of affective and intersubjective criticality (Abat), relational collaboration (Pakiki-pagpulso, Pakiki-pagkapwa, Pagmamalasakit), and shared improvisation (Pintigan), this performance method deploys emancipative subjectivities and considers possible futures. By using applied theatre as a practice of post-disaster recovery, I channel its artistic practice and tools in engaging the local and transnational communities in collective acts of re-centering marginalized narratives and peripheralized bodies of knowledge. Stemming from the wounding memories of disasters, traumatic stories of a super typhoon, and political disjuncture, my collaborators and I mobilized communities, deployed diverse voices, and engaged with non-human subjectivities in sites with histories of environmental destruction and colonization both in local and diasporic communities. Driven by principles of decolonial theatre and emancipated dramaturgy, I aim to offer an ethical inquiry and practice of applied theatre that tackles climate crises in sites with a long history of disasters. These performance principles valorize the Indigenization of theatre’s capacity for social, political, and cultural intervention to re-future climate crises. Finally, this dissertation emphasizes the persistence of Indigenous knowledge, social relationality, and local creativity beyond the incursion of modernity and colonialism. / Graduate

Made available in DSpace on 2016-12-08T16:52:06Z (GMT). No. of bitstreams: 1 ANEXOA.pdf: 34871 bytes, checksum: a99eddb20f2f49b8e7ad44111435aa86 (MD5) Previous issue date: 2009-01-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The scientific inquiry presented has as central object the Legislative Theatre, of Augusto Boal. First of all, we try to register the experience carried through by Boal during his public mandate while councilman in the city of Rio de Janeiro in the year of 1993; by that time, the performances resulted on the approval of some municipal laws. From the accomplishment of workshop and interviews with people who had lived deeply the experience of the Legislative Theatre, and also through a critical analysis of the aesthetic, legal and political aspects of this theatrical form, we tried to verify if the Legislative Theatre would be able to extend the democratic participation in the legislative process. Besides that, we searched to inquire how the theatrical dimension would be related with the degree of participation in the legislative theatre. Finally, it has been proved that, beyond reflection, understanding and social inclusion of its participants, the Legislative Theatre is characterized as a tool of social performance / A investigação científica apresentada tem como objeto central o Teatro Legislativo, de Augusto Boal. Primeiramente, buscou-se documentar a experiência realizada por Boal na época de seu mandato político enquanto vereador na cidade do Rio de Janeiro no ano de 1993, que teve como resultado a aprovação de leis municipais, originadas a partir de encenações teatrais. A partir da realização de oficina e entrevistas com pessoas que vivenciaram a experiência do Teatro Legislativo, e através de uma análise crítica dos aspectos estéticos, políticos e jurídicos dessa forma teatral, buscou-se verificar se o Teatro Legislativo seria um instrumento apto a ampliar a participação democrática no processo legislativo. Demais disso, buscou-se averiguar em que medida a dimensão teatral estaria diretamente relacionada com o grau de participação nas práticas de teatro legislativo. Por fim, comprovou-se que, além de oportunizar reflexão, compreensão e conseqüente inclusão de seus participantes, o Teatro Legislativo caracteriza-se como uma ferramenta transdisciplinar de atuação social

Made available in DSpace on 2016-12-08T16:52:07Z (GMT). No. of bitstreams: 1 clarice.pdf: 3685560 bytes, checksum: f5aed82432693765185253955ce84bf1 (MD5) Previous issue date: 2010-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Playback Theatre is a theatrical form in which actors improvise real stories told by people in the audience, with the figure of the conductor as a link between artists and the public. Created in 1975 by Jonathan Fox, there are playback theatre groups in more than 30 countries. In Brazil it is a relatively unknown practice. In this sense this essay is intended to clarify the objectives of the playback theatre, its techniques and procedures. The main question of research concerns the training necessary for the performance in playback theatre in terms of art and ethics. More than a theoretical approach, this research presents a study immersed in practice, infused with real stories, constructed from a rational, emotional and physical engagement of the author / O teatro playback é uma forma teatral em que os atores improvisam histórias reais contadas por pessoas da platéia, tendo a figura do condutor como elo entre os artistas e o público. Criado em 1975 por Jonathan Fox, já existem grupos que fazem teatro playback em mais de 30 países. No Brasil é uma prática relativamente desconhecida. Nesse sentido essa dissertação tem como objetivo explicitar os objetivos do teatro playback, suas técnicas e procedimentos. O principal questionamento da pesquisa diz respeito à formação necessária para a atuação no teatro playback em termos artísticos e éticos. Mais do que uma aproximação teórica, a presente pesquisa apresenta um estudo mergulhado na prática, imbuído de histórias reais, construído a partir de um envolvimento racional, emocional e físico da autora

La ricerca ricostruisce le vicende della scena italiana tra gli anni '70 e gli anni '80 e, più nello specifico, il fenomeno del teatro di gruppo, di quelle formazioni cioè che hanno sperimentato con più profondità la questione di un'azione comunitaria attraverso lo strumento del teatro. La ricostruzione di questo fenomeno, svolta all'interno di una premessa più generale sull'emersione di una tensione comunitaria in molte delle più importanti esperienze del teatro del Novecento, è stata effettuata attraverso l'analisi della vicenda artistica e sociale di uno dei più interessanti gruppi teatrali piemontesi: il Teatro del Magopovero di Asti, oggi Casa degli Alfieri. Si tratta di una esperienza, sorta negli anni Settanta nell'ambito del teatro di base, che più di altre ha saputo coniugare al proprio interno la tensione comunitaria, sul duplice versante del lavoro di gruppo e dell'azione sociale. La ricostruzione dell'evoluzione di questo gruppo ha permesso di rileggere le vicende della scena italiana e di mettere a fuoco come la tensione etica alla base di questi gruppi sia stata in grado negli anni di evolversi e tradursi in una dimensione estetica, mantenendo sempre alta l'attenzione al radicamento territoriale, culturale e sociale dei propri esisti artistici. / The research goes trough the Italian scene in - between the 70's and the 80's, in particular it focuses on the group's theatre: teams who experimented deeply a community action with a theatre instrument. The study takes as example the “Teatro del Magopovero”, now “Casa degli Alfieri”, one of the most interesting theatre groups of Piedmont, as a significant occurrence of the artistic and social phenomena of the theatre of the last century which aims to the ensemble . This group was founded in the 70's as a community-based theatre: it's an interesting instance of group /team working and social action. The evolution of the team building of this group shows the changes in the Italian history and stresses out how the strong ethic goal of this groups has been able to change in a aesthetic element, keeping high attention to the cultural and social network with the community in their performances.

This dissertation for the M.A. in Creative Writing consists of a full-length play, titled Last Laugh and a mini-dissertation. The mini-dissertation explores the phenomenon of Theatre-for-Development, which differs significantly from the performance tradition of classical African drama. The study identifies ways in which Theatre-for-Development practitioners, animators or catalysts, (interchangeable names given to agents who teach target community members theatre-for-development skills) abandon the conventions of classical African drama performances, in terms of the form of plays, stage management and costumes. They find different and less formal ways to tackle the social problems which the target communities experience. The origins of Classical African drama are traced from the western tradition, from which it borrows heavily, and there is some discussion of the socio-historical conditions that prevailed during the time when African playwrights performed those plays, and the rise of nationalism in colonised African states, which in part influenced their production. This study then examines how the socio-political dynamics in the Zimbabwean post-farm-invasions era gave rise to Theatre-for-Development projects in the newly resettled farming communities that faced social development challenges. Despite the land gains peasants enjoyed, the resettled communities found themselves in places far away from schools, hospitals, shops and social service centres. That was the source of their problems. It will be shown how government sponsored Theatre-for-Development groups to mobilise the people, through theatre, to initiate home-groomed solutions to their social and economic problems during a time when the government was bankrupt and the country’s economy was shattered by the destruction of the agricultural and mining sectors, triggered by the invasions of the white commercial farms. The Ziya Community Theatre’s production of Sunrise is analysed in the light of these considerations. / Dissertation (MA)--University of Pretoria, 2012. / English / unrestricted

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