ArtsPraxis Volume 3 has been published.
It is with great enthusiasm that I present this third volume of ArtsPraxis. In 2003, I worked as a research assistant for Philip Taylor cataloging the extant journals in the arts, arts education, and arts therapies disciplines in order to demonstrate the need for the first volume of this publication. To find myself now as Editor is both humbling and gratifying, given the time and attention that I have contributed to this journal over the years.
This volume features a number of articles that were presented in some form at the Forum on Educational Theatre in April 2016, for which I served as manager. The Forum celebrated the 50th anniversary of the Program in Educational Theatre at New York University: building on the past and looking towards the future. The event was a fine testament to the legacy of the Program’s founders, Lowell and Nancy Swortzell who began the Program in 1966. All told, with presenters, performers, staff, volunteers, and delegates, the participant pool exceeded 400 individuals, demonstrating the strength of the field and a commitment from colleagues the world over to come to New York, share their work, and celebrate this milestone.
The 3rd issue of ArtsPraxis is available for download.
JULIANA SAXTON, CAROLE MILLER, and MONICA PRENDERGAST
The elegant phrases of John Crosby to describe mentoring have been amended and added to over the years to include, “a shoulder to cry on and a kick in the pants” (Josefowitz, 1980). This paper is a follow-up to the podcast the authors engaged in with Edie Demas as their moderator at the NYU Forum on Educational Theatre, April 2016. Here on the editor’s invitation, we expand on our conversation, moving from our personal experiences of mentoring/being mentored to examining the confusions that arise over the application of the term itself, what is effective mentoring and how it may be derailed. We begin with what we said (slightly modified) about our own experiences of mentorship to set the context.
Theatre in Education emerged in the 1960s from roots in progressive education and new wave theatre and developed a pedagogy heavily influenced by drama and education philosophy. At the heart of this theatre/education hybrid was a belief in the necessity for children to become critically engaged with the world. The best TIE offered children the tools to understand and to shape their world. This progressive approach to education has been marginalised during the last forty years. This article charts this descent into utilitarianism and asserts the need for Applied Theatre and TIE to enhance students’ critical thinking skills rather than offering didactic messages and exercises in socialisation. The obstacles to working authentically with TIE are multifarious. Alongside issues of funding, timetabling, access to students and appropriate working space, there are problems associated with appropriate training in TIE praxis. Professionals no longer have the access to the necessary research and rehearsal time where facilitation skills can develop. The ‘authentic teaching’ lauded by Heathcote is out of favour at the time when critical thinking skills are of paramount importance. This article asks if there is a way for TIE to adapt to the new realities of how children learn and play so that again it can offer a theatrical safe haven where critical thinking skills can be honed in order to equip young people with the critical skills to shape their own futures.
JAMES PAUL MIRRIONE, PhD
Shakespeare’s plays, especially those that have a modern day resonance to the issues of the modern world, are indeed elastic in their ability to speak across generations and cultures. This paper provides a number of sample responses by young Emirati female students at United Arab Emirates University (UAEU) from courses taught by the author, who was in residence there as the Drama and Theatre specialist from 2005-2014. Over the course of several semesters, these female Muslim university students’ verbatim comments reveal how Kate’s final words moved them to respond in the varied ways they did. These responses demonstrate the emotional tightrope that the students seem to be navigating; one that originates in tradition while also clashing with modernity. The Taming of the Shrew, and the journey of Kate as she is confronted by the challenges of an arranged marriage within a patriarchal society, is one that speaks to these students. As a non-Muslim practitioner of theatre and drama, the challenge was to see which of these two personas would win out – a Kate or a Khatema – which turns out to be the subject matter for a larger societal investigation of the roles of men and women in the United Arab Emirates.
ROSS W. PRIOR
Applied theatre as a named field is still relatively new yet ‘the range of applied theatre practice is vast; it happens all over the world as part of a grassroots movement involved in social change and community reflection’ (Prendergast & Saxton, vi: 2009). This article explores the underlying teaching philosophies inherent in the published course descriptors of a sample range of eight graduate/postgraduate programmes in applied theatre across three countries. The selection of these programmes, although somewhat random, has been based upon their prominence within academic parlances and those that provide programme documents in English. Consequently the representative sample survey is across one cross-section of postgraduate provision and is analysed in order to extract a range of philosophical themes underpinning learning and teaching. In distilling these philosophies the article presents a discussion of how the subject knowledge of applied theatre work ranges from ‘discovered’ to ‘constructivist’ in nature. In turn these themes are interrogated against published research in the field and postulate on how applied theatre programmes might further consider the ways in which they adequately prepare their students as future artist-educators to work in this diverse and challenging field. An outcome of the survey revealed grand claims made in the published programme descriptors.
TRENT NORMAN, REBECCA BROWN ADELMAN, and LIGIA BATISTA SILVERMAN
Applied theatre performances that address social issues can inspire feelings and reactions. In this article, we draw from our experience working together as facilitators since 1999 as examination of the challenges we have encountered and the importance in holding space for difficult – yet productive – conversations. Working from a framework of inclusive justice, we merge social justice practices in applied theatre and inclusive education. We share with the readers our experiences with the role of self as facilitator and the concept of holding space; we challenge the idea of neutrality in facilitation, and advocate for the facilitator as instrument to change. We are not offering a manual of instructions – we offer, instead, a few ingredients that other facilitators may also find helpful in their practice.
Creative English is an applied theatre program that supports English language learning for adult refugees and migrants in the UK. The program is shaped by an ethic of care, focused on responsiveness, reciprocal relationships and empowering individuals to take action. This article identifies challenges and opportunities highlighted by the rapid expansion of a project governed by these values and delivered by volunteers.
In 2014, secondary students at the Poly Prep Country Day School began an eleven-month project with their acting teacher and a professional playwright that culminated in performances at the Edinburgh Festival Fringe in August of 2015. The goal was to premiere a new play created out of the concerns and challenges facing these young Americans as they wrestled with their national identity in an increasingly interconnected world. The students also dealt with issues of race, class, and sexual identity as they refined dialogue and characters in daily rehearsal sessions. The director’s process of building Americans in Breshkistan was modeled on that used by professional companies when they workshop a new piece with a playwright. The students created choreography and stage combat, as well as nonverbal movement sequences in which they worked together as an acrobatic team. The project united and engaged thirteen students of various races, classes, ethnicities, sexual orientations, and personality types. Students were responsible for creating and realizing the lighting and sound designs and for running the show. This project could serve as a model for schools to adopt into their regular curriculum, connecting high-level, student-created productions with performance possibilities at local professional theater venues.
The production of plays written by young people has been in practice at theatre companies and arts organizations in the United States for nearly forty years. However, while young playwrights programs have emerged across much of the country in the past decade, the field has not been adequately addressed in the literature. This paper addresses the scope and variety of young playwrights programming and compares the praxis of organizations engaged in the work.
ArtsPraxis Volume 4, Issue 1 looks to engage members of the global Educational Theatre community in the ongoing dialogue about where we have been and where we are going. This call for papers is released concurrently with ArtsPraxis Volume 3 and the submission deadline for Volume 4, Issue 1 is February 1, 2017.