Time to discuss community theatre: My meeting with my lawyers over SMAGs were progressive today. The Power of Theatre and Justification for Using it as a Strategy : Vicious virtuous 1. Theatre strategy for forming SMAGs Empathy makes us feel as if we ourselves are experiencing what is actually happening to others. Empathy is an emotional relationship between character and spectator. A relationship which, as Aristotle suggests can be basically one of pity and fear, but which can include other emotions as well: And theater is the most perfect artistic form of coercion. Conscientization differs from“consciousness raising” in that the latter involves the participants in a “banking education” or, as Freire describes it, the transmission of pre-selected knowledge from the expert/teacher to passive student receptacles who receive, file and store the deposited information (Pedagogy of the Oppressed . Conscientization, on the other hand, interrupts and interrogates such distributions of power, inciting critical awareness of one’s own “oppressions” and those of others. According to Freire, the conscientization process involves recognizing that power structures are social-historical constructs rather than predestined or natural systems, analyzing who and what benefits from the constructs, and developing ways to alter or transform the constructs so as to balance the distribution of power or, in Freire’s terms, transform the oppressive circumstances of those who are powerless (99-104). The purpose of the staged event is to “help the spectator…understand his social environment” and “adopt an attitude of inquiry and criticism” toward it (Brecht 133, 136). “learning” can be “entertaining and instructive” Theatre then becomes an extraordinary tool for transforming monologue into dialogue. "While some people make theatre," says Boal, "we all are theatre." Becoming emotionally involved with the characters in a drama. Drama constantly employs vicarious efficacy. As listeners become emotionally involved with a character, for example, a shy, young girl named Rose, her actions and personality inspire the listeners with the belief that “if Rose can do it, so can I.” Modeling takes place when people observe others performing a behavior either in real life or in a drama. Parasocial interaction (Horton and Wohl, 1956) takes place when people begin to think of fictional characters as if they were real people. Listeners often talk back to fictional characters on the radio as if they were in the same room and sometimes send them letters or even gifts. When, for example, two characters in the Australian agricultural serial Blue Hills, were pregnant, listeners sent in baby clothes that they had knitted especially for them (Black, 1995) listeners are likely to imagine themselves as part of the drama and to experience vicariously how a behavior feels, how others might react, and how they might respond.
Posted on: Fri, 14 Jun 2013 13:04:16 +0000
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