This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.

This thesis is an account of praxis: it examines Playback conceptually, and portrays a programme of practical work exploring the experience of workplace audiences of five Playback Theatre performances, delivered from 2002-2005. The aim of the performances was to assist multi-disciplinary teams of staff in community health centres in Auckland New Zealand to communicate and work together with more understanding of each other. The thesis describes Playback as a way not only to elicit complex narratives which allow for diverse points of view to be expressed, but also as an aesthetic reworking of these narratives using action, music, dance, gesture and speech, in ways which have been influenced by 20th century avant-garde forms such as surrealism, dada, collage, jazz and poetry. Unlike some forms of theatre, Playback calls on elements of ritual and group method, in that it relies on audience members taking an active part in the performance by contributing narratives from their own lives. The thesis interrogates the notion of audience in theatre, using the words audience, spectator, spectactor, participant, public and polis, and specifically investigates two moments of the theatre as polis, in the French and Russian revolutions, when the potential of theatre to engage with the widest cross-section of the nation led to influential experiments and innovations in theatrical practice, each of which influenced the succeeding century. Some Playback discourse and practice is found to contain simplistic, even nostalgic, concepts of personal narrative, and the potential for performers’ interpretations in Playback to reinscribe social privilege is noted. In spite of its simple structure, Playback demands extremely complex skills from all the performers, not only the facilitator. In addition, the complex setting of the practical work encompasses both local NZ health initiatives and developments in global health. The work in each Healthcare Centre is described in a complete chapter: each containing details of the Centre and the Playback, seen through the findings of the patient focus groups, through comments made in interviews by the staff and through the researcher’s observation and experience. In all three Centres, existential and emancipatory metanarratives surfaced in the performances and in interviews. Professionalism was seen as meaning different things: at Ngākau it was a measure by which people were found to be unsatisfactory; at Oranga, it referred to applying the lessons of the Playback to one’s own practice; while at Pātaka, professionalism was evident in narratives of self care, dedication and seeking clarification and support from peers. While the study revealed limitations of Playback, it also pointed to some unique contributions this form of improvisational theatre can make to a programme of staff or group development. In particular, Playback can open up spaces, people and topics, for non-dogmatic, pluralistic, embodied thinking and reflection, leading people to more nuanced understandings of themselves and each other, and can even affect attitudes and behaviours.

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

A autora conceitua e sistematiza a metodologia brasileira de sociopsicodrama Teatro de Reprise, criada em 1993 pelo Grupo Reprise, do qual era integrante. Diferencia a prática de seu método inspirador, o Playback Theatre (1975) americano, criado por Jonathan Fox, principalmente pelo acento na grupalidade, apresentando-a como facilitadora/mediadora de interação e aprendizagem para público adulto. Para tanto, define seus fundamentos baseado na abordagem sociopsicodramática de Jacob L. Moreno (1889-1974), na qual há um \"homem moreniano\" aludido, que possui um alto grau de espontaneidade, que cria sempre e que se orienta para a busca de uma utopia de saúde mental e social, que escape da doença social da cristalização e das conservas culturais. O trabalho descreve as inovações práticas e teóricas brasileiras do sociopsicodrama, especialmente quanto às noções de coconsciente, coinconsciente e de campo télico, e mostra as especificidades da modalidade Teatro de Reprise como uma intersecção entre o individual e o coletivo pela ressonância estética de seus ego-atores e ego-músicos. A partir dessa fundamentação, a autora constrói a conceituação e as diversas etapas do Teatro de Reprise, e exemplifica o impacto da transformação/aprendizagem grupal, resultante da utilização do método em organizações, políticas públicas, instituições etc. Além disso, uma intervenção demonstrativa com o uso do Teatro de Reprise e com um grande grupo, no espaço de um centro cultural em São Paulo, é relatada e processada pela leitura do fenômeno, no viés da sociodinâmica grupal. / The author defines and systematizes the Brazilian methodology of socio-psychodrama: Reprise Theatre, created in 1993 by the Reprise Group, of which she was a member. She distinguishes the practice from its motivational method, the American Playback Theatre (1975), created by Jonathan Fox, mainly due to the emphasis on groupality, presenting it as facilitator/mediator of interaction and learning for adult audiences. In order to do so, she defines its foundations based on the sociopsychodramatic approach of Jacob L. Moreno (1889-1974), in which there is a \"Morenian man\" alluded to, who has a high degree of spontaneity, who always creates and who is oriented towards the search for a utopia of mental and social health, who gets away from the social disease of crystallization and from the cultural preserves. This paper describes the Brazilian practical and theoretical innovations on sociopsychodrama, especially regarding the notions of co-conscious and co-unconscious states and of telic field. It shows the particularities of the modality Reprise Theatre as an intersection between the individual and the collective, by the aesthetic resonance of its ego-actors and ego-musicians. From this grounding, the author builds up the concepts and the various stages of the Reprise Theatre and exemplifies the impact of the group transformation/learning, resulting from the use of the method in organizations, public policies, institutions, etc. In addition, a demonstrative intervention with the use of the Reprise Theatre and with a large group in the space of a cultural center in São Paulo is reported and processed by reading the phenomenon, in bias of the group sociodynamics.

The goal of this paper is to examine the practice of Applied Theatre in order to better define the genre and make a case for its legitimization and inclusion in higher theatre education. By looking at the theatre practitioners of the 20th century who paved the way for its existence as well as modern practitioners, a definition will be distilled down to five core characteristics of the practice with several case studies illustrating those characteristics. Once a clear distinction has been made between Applied Theatre and other similar genres, the case will be made for why the field should be considered mainstream. Additionally, it will be revealed how underserved the genre is in higher education and why its inclusion is important in college theatre programs.

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

Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition®. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.