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Theater as the Elicitive Third Space: How Theater for Development has been used to prevent violence in KenyaBernebring Journiette, Irina January 2013 (has links)
In this paper theater is understood as a tool to communicate social transformation and the purpose of this study is to investigate the use of Theater for Development in relation to preventing violence and explore if, how and why the use differ in relation to preventing direct or structural violence. By analyzing the narrated experiences of Kenyan theaterpractitioners work through the theoretical perspectives presented by Homi K. Bhabha and John Paul Lederach this paper then argues that theater can create an elicitive Third Space where the passive spectators in the audience can be turned into empathetic, conscientized spect-actors and where conflicting communication can occur without violence. It then goes on to theorize on how the explanation to the differences exists in what the performance need to achieve in the elicitive Third space.
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Theatre for development in Kenya : in search of an effective procedure and methodologyOdhiambo, Christopher 12 1900 (has links)
Thesis (DPhil)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This is a study of Theatre for Development (TfD) in Kenya. It is an attempt to map out
and describe different manifestations of the practice which would, in a way, act as a
critical model for practitioners and other stakeholders. However, this is in no way an
attempt to provide a rigid all-purpose theoretical model, but nonetheless to offer ways,
through a description of aspects of Theatre for Development, within which and
through which social and behavioural transformations in this eclectic field may take
place. To this end, case studies of a few indicative and contrasting examples of
Theatre for Development will be used to provide a mirror which will enable its
practitioners to reflect upon and critique their own practices as a way of achieving
optimum effectiveness.
The works of Paulo Freire and Augusto Boal provide the study with a theoretical
model in which its basic assumptions and arguments are tested and developed. These
two authors, whose works are related in many ways, privilege the use of participatory
approaches in the process of creating critical consciousness and promoting change in
the individual and in society; these are fundamental requirements in any meaningful
practice of Theatre for Development.
The findings of this study reveal the discursive and eclectic state of the practice of
Theatre for Development in Kenya as originating from a multiplicity of factors such as
the skills (or lack thereof) of the practitioners, government interference and the
prescriptive agenda and demands of the project funding bodies, institutions and
agencies as well as the proliferation of NGOs using Theatre for Development but lacking its foundational philosophy and methodology. This study therefore suggests
that, for the enterprise to be more effective and efficient there is a serious need to
reflect critically on its procedures and methodology in order to improve and guide its
operation. These fundamental aspects include collaborative research, codification,
interactive participation, and facilitation and intervention, and are not prescriptive
matters but descriptive, arrived at through a critical analysis of a number of Theatre
for Development activities in Kenya. Ultimately the research process has thus
highlighted a number of weaknesses and strengths in the practice of Theatre for
Development in Kenya.
Because Theatre for Development is a performance event, the study utilised both
quantitative and qualitative research methods. This was necessary, because the study
depended on a bibliographical review, unstructured interviews and action research,
where the researcher participated in Theatre for Development projects, happenings and
related activities / AFRIKAANSE OPSOMMING: Hierdie is ‘n ondersoek na Teater vir Ontwikkelling in Kenya. Dit poog om die
verskillende manifestasies van die praktyk te karteer en beskryf waardeur dit, tot ‘n
mate, a kritiese model vir praktisyns en aandeelhouers kan dien. Die onderneming is
egter op geen wyse ‘n soeke na ‘n rigiede, allesomvattende teoretiese model nie, maar
bied tog ‘n beskrywing van aspekte van Teater vir Ontwikkelling waarbinne en
waardeur transformasie van sosiale optrede en handeling in hierdie eklektiese veld kan
plaasvind. Met dit in gedagte word na ‘n aantal toepaslike en kontrasterende
gevallestudies van Teater vir Ontwikkelling gekyk om ‘n perspektief te ontwikkel wat
praktisyns in staat sal stel om hulle eie praktyke krities en effektief te kan evalueer.
Die werk en geskrifte van Paulo Freire en Augusto Boal verskaf die teoretiese model
vir hierdie ondersoek, wat die basiese beginsels en uitgangspunte daarvan in die
Afrika-konteks uittoets en ontwikkel. Hierdie skrywers, wie se werke nou verband
hou met mekaar, gee voorkeur aan ‘n interaktiewe, deelnemende benaderings tot die
ontwikkelling van ‘n kritiese bewussyn en die stimulering van verandering by die
individu en in die gemeenskap. Dié benaderings is fundamenteel tot enige sinvolle
aanwending van Teater vir Ontwikkelling.
Daar is bevind dat die beoefening van Teater vir Ontwikkelling in Kenia uiters
eklekties en uiteenlopend van aard is en dat hierdie stand van sake toegeskryf kan
word aan ‘n verskeidenheid faktore, insluitend die vaardighede (of tekort aan
vaardighede) van praktisyns, inmenging deur die regering, voorskriftelike agendas en
vereistes gestel deur borge en befondsingsagentskappe, edm. ‘n Ander faktor is die geweldige toename in nie-regeringsorganisasies (NGO’s) wat van Teater vir
Ontwikkelling gebruik maak terwyl hulle nie oor die basiese filosofiese en
metodologiese kennis en opleiding beskik nie. Die bevinding is dus dat sodanige
programme slegs meer effektief en doeltreffend bedryf kan word indien daar ernstig
besin word oor fundamentele prosedures en metodologieë, om aan die verdere bedryf
van die program(me) rigting te kan gee en uitkomste te verbeter. Fundamentele
aspekte hierby betrek sou insluit spannavorsing, samewerking, kodifisering,
interaktiewe deelname, fasilitering en intervensie, wat nie voorskriftelik is nie, maar
beskrywend en rigtinggewend van aard, afgelei uit ‘n kritiese ontleding van ‘n aantal
Teater vir Ontwikkelling aktiwiteite in Kenia. Die navorsing het dus uiteindelik ‘n
aantal sterk- en swakpunte in die praktyk van Teater vir Ontwikkelling in Kenia belig.
Omdat Teater vir Ontwikkelling ‘n aanbiedings-gebeurtenis (“performance event”) is,
het die ondersoek beide kwantitatiewe en kwalitatiewe navorsingsmetodes gebruik.
Dit was nodig omdat die ondersoek gebruik gemaak het van formele literatuurstudie,
sowel as ongestruktureerde onderhoude en aksienavorsing, waartydens die navorser
self deelgeneem het aan van die Teater vir Ontwikkelling projekte, gebeure en
aktiwiteite.
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Gemeenskapsgebaseerde teater : 'n Suid-Afrikaans georienteerde ondersoekBrand, Amelda 12 1900 (has links)
Thesis (MDram)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: Creative expression is influenced by social structures and the political climate of the day.
Therefore theatre as a social structure has been directly influenced by colonialism and
apartheid. Restricting legislation had a limiting influence on cultural activities and
freedom of creative expression.
The following terms all refer to community based theatre activities: Community Theatre,
Popular Theatre, Theatre for Development, People's Theatre and sometimes Workshop
Theatre.
Community theatre in post-colonial African countries take place in locations easily
accessible to the communities it serves. These activities make use of creative techniques
that the target communities can identify with. The subject-matter is generally relevant
and is therefore accessible. The conscientisation- and mobilisation-potential of
community theatre become evident in post-colonial African countries. The uses of this
term in South Africa is closely connected with the above, but the applications in practice
are more diverse because of a longer period of Western influence.
Popular Theatre encapsulates theatre activities focussing on mass-appeal and popular
entertainment as well as theatre activities by and for marginalised communities. "Popular
Theatre" activities that take place within marginalised communities make use of
collective creative approaches that are aimed at community conscientisation and
mobilisation.
Like Community Theate and Popular Theatre, Theatre for Development is theatre for, by
and of the people (marginalised people, ordinary workers and the unemployed). Certain
Theatre for Development projects approach the target communities with pre-planned
agendas and creative subject-matter. Theatre for Development, like other community
based theatre forms, are aimed at conscientisation, mobilisation and organisation to
encourage political liberation and promote a higher standard ofliving. Workshop Theatre encourages people to express themselves by using a democratic and
collective creative approach. These characteristics are also present in the previously
mentioned theatre forms.
Community Theatre, Popular Theatre and Theatre for Development can all be categorised
as community based theatre and the terms are interchangable in pracitce. / AFRIKAANSE OPSOMMING: Politieke omstandighede en daaglikse gebeure beïnvloed die keuse van
uitdrukkingsvorme. Kolonialisme en veral die apartheidsbeleid in Suid-Afrika het sosiale
strukture, waaronder teater, beïnvloed. Wetgewing en beperkte infrastruktuur het
kulturele aktiwiteite, kreatiewe uitdrukking en kulturele vloei beperk.
Gemeenskapsgebaseerde teateraktiwiteite in Suid-Afrika word meestal benoem met die
volgende terme: Gemeenskapsteater, Populêre Teater, Teater vir Ontwikkeling, "People's
Theatre", asook Werkswinkelteater wat in Suid-Afrika soms sosio-polities van aard is.
Gemeenskapsteater in post-koloniale Afrika-lande is ten opsigte van vorm en inhoud vir
die teikengemeenskap toeganklik en vind plaas in maklik bereikbare ruimtes. Die
bewusmakings- en mobiliseringspotensiaal van Gemeenskapsteater kom sterk na vore in
post-koloniale Afrika-lande. Die gebruike van die term "Gemeenskapsteater" in Suid-
Afrika sluit by bogenoemde aan, maar het ook meer diverse toepassings wat by
ontwikkelde lande se beskouings aansluit.
Populêre Teater ondervang teateraktiwiteite wat fokus op massa-aanhang, sowel as
teateraktiwiteite wat gemik is op gemarginaliseerdes. In laasgenoemde konteks is dit
gerig op bemagtiging en word 'n kollektiewe skeppingsproses gebruik.
Teater vir Ontwikkeling is soos Gemeenskapsteater en Populêre Teater, teater vir, deur en
van "die mense" (gemarginaliseerdes, massa gewone werkers en werkloses). Anders as
Gemeenskapsteater kan daar 'n voorafopgestelde agenda of gekose onderwerp wees.
Soos ander gemeenskapsgebaseerde teater strewe dit na bewusmaking, mobilisasie en
organisasie ter wille van bevryding en verhoogde lewensstandaarde in gemarginaliseerde
gemeenskappe. Werkswinkelteater het 'n demokratiese en kollektiewe skeppingsproses wat selfvertroue
en die vermoë tot uitdrukking aanmoedig. Dit is 'n eienskap wat ook teenwoordig is in
die voorafgenoemde teatervorme.
Teateraktiwiteite wat met die terme Gemeenskapsteater, Populêre Teater en Teater vir
Ontwikkeling benoem word, kan gekatagoriseer word as gemeenskapsgebaseerde teater
en is dikwels in die praktyk omruilbaar.
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