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.

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.

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.