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172 pages

English

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From role-plays with street gangs in the USA to Beckett in Brixton; from opera productions with sex offenders to psychodrama with psychopaths, the book will discuss, analyse and reflect on theoretical notions and practical applications of theatre for and with the incarcerated. Theatre in Prison is a collection of thirteen international essays exploring the rich diversity of innovative drama works in prisons. The book includes an introduction that will present a contextualisation of the prison theatre field. Thereafter, leading practitioners and academics will explore key aspects of practice &endash; problemitising, theorising and describing specific approaches to working with offenders. The book also includes extracts from prison plays, poetry and prisoners writings that offer illustrations and insights into the experience of prison life.

Sujets

Theater

Performing Arts

Sociologie, société et politique

Theatre

General officer

General

Prison

Informations

Publié par	Intellect Books Ltd
Date de parution	01 janvier 2004
Nombre de lectures	0
EAN13	9781841509037
Langue	English

Informations légales : prix de location à la page 0,1900€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

THEATRE IN PRISON
THEORY AND PRACTICE
THEATRE IN PRISON
THEORY AND PRACTICE
Edited by Michael Balfour
First Published in the UK in 2004 by Intellect Books , PO Box 862, Bristol BS99 1DE, UK
First Published in the USA in 2004 by Intellect Books , ISBS, 920 NE 58th Ave. Suite 300, Portland, Oregon 97213-3786, USA
Copyright 2004 Intellect Ltd
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.
A catalogue record for this book is available from the British Library
Electronic ISBN 1-84150-903-5 / ISBN 1-84150-066-6

Cover Design: Patricia Emery (www.patriciaemery.com)
All photos reproduced with kind permission from Jack Webb, Jack Webb.
Copy Editor: Julie Strudwick

Printed and bound in Great Britain by Antony Rowe Ltd.
CONTENTS
Acknowledgements
The Contributors
Introduction
A Study of Prisoners and Guards in a Simulated Prison
Philip Zimbardo, Craig Haney and Curtis Banks
Pathologies of Hope in Drama and Theatre
Baz Kershaw
Play : One Hour in the Semi Open (aka The Rat Run )
From the Stocks to the Stage : Prison Theatre and the Theatre of Prison
James Thompson
The Prosocial Gang
Arnold Goldstein, Barry Glick, Wilma Carthan And Douglas A. Blancero
Prison Poem
Ali
Somebody s Daughter Theatre : Celebrating Difference with Women in Prison
Maud Clark
The Role of the Camshaft in Offender Rehabilitation
Chris Johnston
Dealing with Drugs
Kate McCoy And Imogen Blood
If All the World s a Stage, Why Did I Get the Worst Parts? :
Psychodrama with Violent and Sexually Abusive Men
Clark Baim
Prison Transformation in South Africa
Centre For Conflict Resolution
Poem: The True Prison
Ken Saro-Wiwa
Theatre and Ecclecticism : The Tandari Experience
Emman Frank Idoko
Real Social Ties?: The Ins and Outs of Making Theatre in Brazilian Prisons
Paul Heritage
Index
Acknowledgements
I would like to thank all the authors for their hard work and determination to turn in their chapters. Particularly for those outside the luxurious confines of academia (!), as finding the time to think and write is not always easy.
My grateful thanks also to King Alfred s, Winchester for allowing me the time to edit this book. And to my colleagues and especially the students on the BA Drama, Theatre and Television course who have inspired, challenged and surprised me with their ideas over the last four years.
I would also like to thank Ginny for her support, advice and editorial guidance, and for knowing when to drag me away from my computer.
The Prison Poem by Ali and the screenplay One Hour in the Semi Open were given to me by people involved in prison theatre projects. I have tried in vain to track down the writers of these pieces to credit their work. I hope seeing the work in print will be of some consolation.
The biggest inspiration for the book has been the people in prison I have worked with over the last ten years. Their stories have provoked insight, depression, self- analysis, politicisation, anger, fear, laughter and a million other forms of emotion I never knew I had. Their willingness (and sometimes the opposite) has forced me to consider and re-consider this thing we call theatre. And if there is one thing prison work teaches you it is humility. Because the only thing I am certain of is that I never taught anyone in prison anything, but I learnt a hell of a lot in the process of failing.
The Contributors
Michael Balfour is a Senior Lecturer and Director of the BA Drama, Theatre and Television course at King Alfred s, Winchester. He is a former Director of the Theatre in Prisons and Probation (TIPP) Centre, where he worked from 1994-1997. He has extensive experience as a theatre practitioner and consultant in community- based arts projects, including work for the British Council in Nigeria, Youth Offending Programmes in the UK, and cross-community work in Northern Ireland. He is the author of Theatre and War: Performance in Extremis, 1933-1945 (Berghahn Books, 2001), and The Use of Drama in the Rehabilitation of Violent Male Offenders (Edwin Mellen Press, 2004).
Centre for Conflict Resolution:
Christopher Glen Malgas is a correctional officer at Pollsmoor Prison in the Western Cape; Joanna Flanders-Thomas is a former Co-ordinator of CCR s Prison Transformation Project; Chris Giffard is a CCR Research Associate; Stan Henkeman is a Senior Trainer with CCR; Roshila Nair is Editor of Track Two at the Centre for Conflict Resolution; Paul is a prisoner at Pollsmoor Prison, and participated in conflict resolution programmes run by the Centre for Conflict Resolution at the prison.
Clark Baim established Geese Theatre UK after touring in the mid-1980s with Geese Theatre USA. He was the UK company s first Director and is now an independent psychodrama psychotherapist, supervisor and theatre director/teacher. He continues to specialise in work with offenders and among his other responsibilities he is a lead national trainer on accredited programmes for the National Probation Service.
Imogen Blood is a qualified social worker who has worked with drug users in prisons, supported accommodation and probation. She is now Senior Research and Evaluation Officer at NACRO (National Association for the Care and Resettlement of Offenders) where she has responsibility for evaluating criminal justice based interventions with drug users.
Maud Clarke co-founded Somebody s Daughter Theatre, in the early 1980s, and has since developed it into a unique Australian company of women who have experienced imprisonment and drug addiction. As well as numerous prison projects, there has been a series of professional shows at venues such as the Malthouse Theatre between 1991 and 1999 in Melbourne; a sell-out season at the 1995 National Festival of Australian Theatre in Canberra; and in 2000, an art exhibition and performances at the Victorian Arts Centre. The company has also made a number of tours to rural and regional centres in Victoria, the Australian Capital Territory and New South Wales. Clarke has made presentations at a wide range of state, national and international conferences, as well as sessions for health professionals, magistrates, community organisations, university students and academics.
Arnold Goldstein has written more than sixty books and published over a hundred articles on such subjects as aggression, social training, and juvenile delinquency. He pioneered the intervention method of structured learning and developed model programmes such as Skillstreaming, PREPARE and Aggression Replacement Training. These programmes are being implemented across the United States and in many different countries throughout the world. Dr. Goldstein was the initiator for The Center for Research on Aggression at the University of Syracuse and received numerous academic awards. Together with some twenty art experts, academics and practitioners he founded The International Center for Aggression Replacement Training (ICART) in 2001. The chapter in this book was co-written with Douglas A. Blancero, Wilma Carthan, and Barry Glick.
Paul Heritage is Professor of Drama and Performance at Queen Mary, University of London and Director of People s Palace Projects, a research centre in applied performance with offices in London and Rio de Janeiro. He set up the Theatre in Prisons and Probation (TIPP) Centre with James Thompson at Manchester University in 1992. Since 1991, he has been working in Brazil where, in collaboration with Augusto Boal and the Centre for the Theatre of the Oppressed, he has established the Staging Human Rights programme. He has organised two international conferences on theatre and development for The British Council entitled Changing the Scene 1 & 2, and edited the two publications which followed (1999 and 2000). A former director of Gay Sweatshop, he has published a variety of articles and chapters on sexuality and performance. In Brazil he has directed Shakespeare productions with university students, young people in conflict with the law and some of Brazil s most famous soap-opera stars. He has a studio theatre named after him inside the prison complex of the Federal District of Bras lia. For further information: www.peoplespalace.org
Dr. Emman Frank Idoko, is a Senior Lecturer at the University of Maiduguri, Borno State, Nigeria. He has been a teacher of drama and theatre for ten years. He won the DAAD (German Academic Exchange Service) in 1999-2000 and the Alexander von Humboldt Foundation AvH (Georg Forster) 2001-2002.
Chris Johnston is a writer, director and performer. He is particularly interested in the theatricalisation of the social dynamics of community, either through a closed drama process or through interactions with an audience. He is currently co-director of Rideout (Creative Arts for Rehabilitation) and director of Fluxx, which creates improvised performances in a range of theatre and non-theatre settings. He is also Fellow in Creative and Performing Arts at Warwick University. He is the author of House of Games ( Making Theatre from Everyday Life) , published by Nick Hern Books.
Baz Kershaw trained and worked as a design engineer before reading English and Philosophy at Manchester University. He has extensive experience as a director, devisor and writer in experimental, radical and community-based theatre, including productions at the legendary Drury Lane Arts Lab in London. He has published many articles in international journals, and is the author of The Politics of Performance: Radical Theatre as Cultural Intervention (Routledge, 1992) and The Radical in Performance: Between Brecht and Baudrillard (Routledge, 1999); and co-author of Engineers of the Imagination: the Welfare State Handbook (Methuen 1990). He is currently Chair of Drama at the University of Bristol, and Director o