PERF219 Chapter Notes - Chapter 35: Applied Drama
Chapter Summary
Textbook: The Applied Theatre Reader, edited by Tim Prentki
and Sheila Preston, Routledge, 2009.
Chapter 35 – Introduction to Border Crossing
By Tim Prentki (pp.251-253)
- Applied theatre application may involve crossing psychological, racial, sexual,
sociological, professional, and geographical borders.
- These borders may be providing us security, but also may be prohibiting us from
trying new experiences and gaining new skills.
- In theatre, actors willingly cross borders to become the other person.
- Where applied theatre is practical, participants have to negotiate their way across
others’ borders.
- The facilitator helps participants distinguish between the borders of the external
world and their own.
- The underlying principle in all these various applications of theatre is the same: to
enable participants to (re)discover their innate capabilities for play, imagining,
creating, relating to theirs by exploring the self in the other and the other in the self.
- Practitioners entering into an unfamiliar community they do not belong to is an
example of border crossing.
- The decision for the community to cross the border of the issue raised by the guests
always belongs to the community.
- Facilitators are figures who move between worlds.
- The application of theatre to the social realities of its audience is an ancient popular
tradition from which contemporary applied theatre draws its inspiration.
- The applied theatre facilitator not only crosses borders, but plays along the edges of
art and life to expose contradictions and invite reflections upon the theatrical in life
and the lively in theatre.
- Any applied theatre project involves border crossing.
- Crossing the border is rarely accomplished without difficulty.
find more resources at oneclass.com
find more resources at oneclass.com
Document Summary
Textbook: the applied theatre reader, edited by tim prentki and sheila preston, routledge, 2009. Applied theatre application may involve crossing psychological, racial, sexual, sociological, professional, and geographical borders. These borders may be providing us security, but also may be prohibiting us from trying new experiences and gaining new skills. In theatre, actors willingly cross borders to become the other person. Where applied theatre is practical, participants have to negotiate their way across others" borders. The facilitator helps participants distinguish between the borders of the external world and their own. Practitioners entering into an unfamiliar community they do not belong to is an example of border crossing. The decision for the community to cross the border of the issue raised by the guests always belongs to the community. The application of theatre to the social realities of its audience is an ancient popular tradition from which contemporary applied theatre draws its inspiration.
