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141 pages

English

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A propos
Informations
Extrait

Description

Research-based theatre aims to present research in a way that is compelling and captivating, connecting with viewers on imaginative and intellectual levels at the same time. Research-Based Theatre brings together scholars and practitioners of research-based theatre to construct a theoretical analysis of the field and offer critical reflections on how the methodology can now be applied. The book shares twelve examples of contemporary research-based theatre scripts and commentaries from an international group of artists and researchers, selected with an eye toward representing different approaches that come from a variety of disciplinary areas.

Acknowledgements

List of Illustrations

Foreword

John O’Toole and Judith Ackroyd

Introduction

Graham W. Lea and George Belliveau

Section I: Education

Chapter 1: Scripting a Narrative Inheritance: Homa Bay Memories

Graham W. Lea

Chapter 2: The Ink Murderers Can’t Hold It Any Longer

Betsy Ferrer Okello

Chapter 3: The Lives of Incarcerated Youth in Athabasca’s Going Unmanned

Diane Conrad

Chapter 4: Critical Plays: An Exploration in Truth and Verisimilitude

Christine Sinclair and Anne Harris

Section II: Health 75

Chapter 5: Considering Aesthetics: Bringing New Awareness to Patient Safety Culture in Hospitals

Julia Gray and Gail Mitchell

Chapter 6: Communicating about Dementia Care through Theatre: Inside Out of Mind

Tanya Myers and Justine Schneider

Chapter 7: Transitioning Home: Research-Based Theatre with Returning Servicemen and Their Families

Linda Hassall and Michael Balfour

Chapter 8: No Particular Place to Go

Trudy Pauluth-Penner, Warwick Dobson, Monica Prendergast, and Holly Tuokko

Section III: Community 131

Chapter 9: An Ethnographic Performance for Professional Learning

Jane Bird

Chapter 10: Temporarily Yours: Foreign Domestic Workers in Singapore

Prue Wales

Chapter 11: Harriet’s House and Ana’s Shadow: Learning about Other People’s Families

Tara Goldstein

Chapter 12: Performing Autobiography

George Belliveau and Rita L. Irwin

Final Reflections

George Belliveau and Graham W. Lea

Contributors

References

Sujets

Performing Arts

Theatre

Performance art

General officer

General

Informations

Publié par	Intellect Books
Date de parution	01 septembre 2016
Nombre de lectures	0
EAN13	9781783206780
Langue	English

Informations légales : prix de location à la page 0,5600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

First published in the UK in 2016 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2016 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2016 George Belliveau and Graham W. Lea
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
Rights to produce, film, or record any of the scripted excerpts included in this book in whole or in part, in any medium, by any group, amateur or professional, are retained by the authors. For production rights, please consult the individual authors.
A catalogue record for this book is available from the British Library.
Copy-editor: MPS Technologies
Cover designer: Holly Rose
Production manager: Richard Kerr
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-676-6
ePDF ISBN: 978-1-78320-677-3
ePUB ISBN: 978-1-78320-678-0
Printed and bound by Hobbs, UK
Contents
Acknowledgements
List of Illustrations
Foreword
John O’Toole and Judith Ackroyd
Introduction
Graham W. Lea and George Belliveau
Section I: Education
Chapter 1: Scripting a Narrative Inheritance: Homa Bay Memories
Graham W. Lea
Chapter 2: The Ink Murderers Can’t Hold It Any Longer
Betsy Ferrer Okello
Chapter 3: The Lives of Incarcerated Youth in Athabasca’s Going Unmanned
Diane Conrad
Chapter 4: Critical Plays: An Exploration in Truth and Verisimilitude
Christine Sinclair and Anne Harris
Section II: Health
Chapter 5: Considering Aesthetics: Bringing New Awareness to Patient Safety Culture in Hospitals
Julia Gray and Gail Mitchell
Chapter 6: Communicating about Dementia Care through Theatre: Inside Out of Mind
Tanya Myers and Justine Schneider
Chapter 7: Transitioning Home: Research-Based Theatre with Returning Servicemen and Their Families
Linda Hassall and Michael Balfour
Chapter 8: No Particular Place to Go
Trudy Pauluth-Penner, Warwick Dobson, Monica Prendergast, and Holly Tuokko
Section III: Community
Chapter 9: An Ethnographic Performance for Professional Learning
Jane Bird
Chapter 10: Temporarily Yours: Foreign Domestic Workers in Singapore
Prue Wales
Chapter 11: Harriet’s House and Ana’s Shadow: Learning about Other People’s Families
Tara Goldstein
Chapter 12: Performing Autobiography
George Belliveau and Rita L. Irwin
Final Reflections
George Belliveau and Graham W. Lea
Contributors
References
Acknowledgements
We would like to thank all the authors in this edition who represent some of the current leading international voices in research-based theatre. We are grateful for their willingness to share their work and wisdom. We would also like to acknowledge everyone working in the field who have inspired and informed our work, in particular Johnny Saldaña and Joe Norris. Thank you to Jessica Mitchell, Richard Kerr, and the Intellect team for guiding us through the process with care and professionalism. George would like to thank his wife Sue, daughters Maddie and Sophie, and parents Ed and Marie, for their ongoing support. Graham would like to thank his brother Brendan, parents June and Walter, and “proxy parents” Shar Levine and Paul Rosenberg. We both wish to acknowledge colleagues Carl Leggo, Rita Irwin, Marv Westwood, Lynn Fels, and Fiona Walton who continue to be beacons of inspiration, friendship, and collegiality.
George and Graham
List of Illustrations
Figure 1. Crowd Departing from Montreal Airport
Figure 2. Johnson’s Painting
Figure 3. Thomas’s Painting
Figure 4. Michael’s Painting
Figure 5. Stan’s Comic from the 2010 production of Athabasca’s Going Unmanned
Figure 6. Randy’s Birthday from the 2010 production of Athabasca’s Going Unmanned
Figure 7. The Meeting Ground and the Nottingham Lakeside Arts 20131 production of Inside Out of Mind
Figure 8. Silence from the 2014 production of The Return
Figure 9. Survivors Guilt from the 2014 production of The Return
Figure 10. Keeping the Wheels of Research Turning
Figure 11. In Rehearsal for Precious Moments
Foreword
John O’Toole and Judith Ackroyd
This book is a welcome addition to the literature on performed research, emphasizing the significance and growing recognition of research outputs that provide an alternative to the conventional written research report. When Judith’s Deputy Vice Chancellor saw an article about her research performance, he asked if there would be some “proper, traditional outcomes”! Almost by definition, especially in fields of dynamic research into human behaviour, the “proper and traditional” outcome – the written research report – often impoverishes what it reports on, and only has a limited specialist audience. Performing research offers an opportunity to provide a more holistic mode for sharing research findings, and one that brings back to life its living community. More than that, it permits research and its reportage to be both creative and aesthetic – still a contested proposition. When John and another colleague were describing that colleague’s recent experimental ethnographic performance work to a couple of researchers from more positivistic fields and personal persuasions, their outraged response was to protest that research was not supposed to be creative! This book is yet more evidence that it can be, and not only that, it can also be aesthetically satisfying.
Increasingly in some fields of human behaviour studies, particularly in education, health, and human services research, researchers are turning to the broad range of methodologies and possibilities that performing research offers. This book is a further contribution to the field, providing many examples of projects that, first, bring their research subjects and participants back to life; second, aid further understanding; and third, help to extend the practice. As the proliferation of such work grows, the rest of the academy is obliged to take it seriously… and its strength as an outcome of research will be more widely understood and valued.
The book’s structure neatly points the way to this new understanding. Each chapter gives us a case study beginning with setting the scene, then providing examples from the scripts of the performances described, and follows that with an extended discussion, sometimes of the research and development process itself, sometimes of the outcomes, audience responses and further development, and sometimes all of these.
In many ways this is a very generous book. The introductory sections provide careful, comprehensive, and often loving descriptions of the research context: the site and the participant subjects, the origins and background of the research, and the personal and professional motivations of the researchers. These are followed by extremely generous extracts of the scripts and playtexts themselves, long enough, for a change, for the reader to get a real flavour of the piece, its atmosphere, and the voices of the participants and witnesses. These, in turn, are followed by a section comprising further comprehensive and thoroughly detailed description of the processes that drove the project, the writing and the performances, how they were received, and retrospective discussion, as well as other insights and findings the writers identified as new knowledge.
The next feature to note is the admirable range and diversity in a variety of dimensions that the book offers. Above all, the book illustrates the diversity of possibilities of this kind of research and research reporting. Diversity can be seen throughout the process and products of the samples provided in this text. The book gives us a variety of:
• motives and drivers for the researchers – the thing that made them start the research
• contexts of the research and its participants – the place and people involved or targeted
• geography and setting – the research site and how it was set up
• methodology and procedures involved in the data gathering and reflection
• subjective and objective approaches to data and its validation, or crystallization into performance
There is more diversity of audiences than might be expected from the customary work in this field, which has tended to be for private colloquia among co-researchers, for refractive playback to the research subjects, or for students to learn from. All these are present in this collection, and their different needs quickly become apparent. But many of these studies are less directly targeted toward specific audiences, which fosters a much more diffused set of opportunities to what audiences might see and hear in the performance space.
Richly diverse too, and connected with the question of audiences, is the broad range of perspectives and purposes for the performance. Many are indeed for specific audiences in fields such as health, education, and human service; however, they share an educational purpose that comes from very different perspectives. Some of the researchers have come to the research, and generated the project, with a purpose of advocacy – delineating and then demonstrating the efficacy of an approach to a social problem or a set of principles. There are the educational dialogists, raising questions for audiences of students or a general public to answer, and challenges for them to address. There are the more didactic presentations where the research has indicated there are important messages and statements of principle to be communicated, especially to audiences of students. Then there are the reflective and inviting performances, the non-judgemental glimpses into other communities and other places. And there are the more introspective – the autoethnographers – whose research seeks to plumb their own inner lives, and put their hearts on their sleeve and indeed, put themselves in front of audiences.
There are of