N. Shaughnessy's Applying Performance: Live Art, Socially Engaged Theatre and PDF

February 2, 2018 | Theater | By admin | 0 Comments

By N. Shaughnessy

ISBN-10: 1137033649

ISBN-13: 9781137033642

ISBN-10: 1349317055

ISBN-13: 9781349317059

This e-book attracts upon cognitive and have an effect on idea to ascertain functions of latest functionality practices in academic, social and group contexts. The writing is positioned within the areas among making and function, exploring the tactics of making paintings outlined variously as collaborative, participatory and socially engaged.

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Sample text

While Prentki argues passionately for ‘real participation, transforming communities into the subjects rather than the objects of their own development’ through practices which draw upon ‘indigenous knowledge’ and the ‘lived experience’ of the participants, Ahmed worries that the mission to transform Third World communities through cultural intervention, ironically turns them into objects: ‘judging the “other” according to the standard of development set by the “Developed”’ (Ahmed, 2004). For theatre practitioners, concerns about the passivity and object status of the ‘other’ as the recipient of TfD interventions is made more problematic by practices which involve ‘trained’ actors ‘directing’ indigenous communities.

Nevertheless, we can identify features associated with avant-garde aesthetics which have contributed to the performance practices discussed here: the blurring of boundaries between life and art; the use of ‘devising’ methodologies to create performance; the challenging of the hierarchies of directors and writers; and the changing relations between audience and performers, particularly in terms of participatory or collaborative modes of practice. Precedents are Happenings, Fluxus instructions and 1970s performance art, all of which were driven by a commitment to democracy, emancipation, intervention and a desire to ‘activate’ the spectator, changing the ‘conditions’ and power relations of artistic production.

This form of agitational propaganda was hugely influential and cognitive theory helps us to understand why: ‘group dynamics, including audience behaviour, always affect individual cognition’( McConachie, 2008: 31). This, as McConachie explains, can motivate political engagement: ‘the feeling of communitas that sometimes unites an audience’ can provide a context for ‘political change’ (2008: 97). The histories, theories and practices of applied theatre and performance are, of course indebted to Brecht’s seminal influence and his concept of ‘epic’ theatre, committed to social change and social justice’ (see Willett, 1964).

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Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice by N. Shaughnessy


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