Audiencing the Audience: Playback Theatre, Performative Writing, and Social Activism

Park‐Fuller, Linda M.

doi:10.1080/10462930310001635321

Cited by 29 publications

(17 citation statements)

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“…This scene metaphorically reflects the teller's basic conflict within an external, distanced context. Dramatic metaphors are a basic component of PT (Nash and Rowe 2000;Park-Fuller 2003). As the group moves deeper into the telling of Daniel's story, it is not surprising to find such a distancing mechanism at work; distancing through metaphors makes the onstage materials more accessible and less threatening for the teller and the group.…”

Section: Looking For the Right Externalized Problemmentioning

confidence: 99%

Playback Theatre and Narrative Therapy: Introducing a New Model

Barak

2013

Dramatherapy

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This article explores a new synthesis between Playback Theatre and Michael White's narrative therapy. Through an exploration of the two methods the article elaborates how such integration can be achieved and how it can contribute to the process of narrative re-authoring. The discussion also includes the limitations and possible drawbacks of such integration, for both playback theatre and narrative therapy. Finally, a structured therapeutic model integrating White's approach to narrative change with Playback Theatre techniques is detailed.

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Section: Looking For the Right Externalized Problemmentioning

confidence: 99%

Playback Theatre and Narrative Therapy: Introducing a New Model

Barak

2013

Dramatherapy

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“…Although audiences are constructed, this does not necessarily happen quickly or simply. Work in performance studies argues that audiences are generally constructed through a process that unfolds gradually (Park-Fuller, 2003). Moreover, a constructed audience can have a precise nature, as when audiences are seen to possess a single common attribute like ''white onlookers,'' ''middle-class congregation,'' or ''uneducated crowd'' (Morely, 2006).…”

Section: Performers Construct Audiencesmentioning

confidence: 99%

“…Conversely, audiences can influence performers by their response or lack of response, iteratively shaping a performer’s presentation of self (Ang, 2003; Goffman, 1959, 1981; Park‐Fuller, 2003). Audiences that view a performance as inauthentic, false, or inappropriate may fail to applaud and cause performers to adjust their actions, for example, by delivering a half‐hearted or angry subsequent performance (Alexander, 2004a; Heritage and Greatbatch, 1986; Hill, 2002; Seiter and Weger, 2005).…”

Section: Claims From Performance Studiesmentioning

confidence: 99%

Social Movement Audiences¹

Blee¹,

McDowell²

2012

Sociological Forum

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Audiences are important to social movements, but the relationships between social movements and their audiences are not well understood. This article uses scholarship from performance studies, especially ideas of audiences as constructed, meaningful, and influenced/influential, to explore two issues. First, how do social movements define their audiences? Second, how are social movement actions toward their audiences shaped by these definitions? Analysis of longitudinal data on two social movement groups in Pittsburgh from 2003 to 2007 shows that social movements variously interpret the nature and role of their audiences and that these interpretations affect their strategies and goals, sometimes quite radically. The conclusion explores how attention to audiences can augment scholarship on the relational, iterative, interpretive, and reflexive aspects of social movements.

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“…Playback Theatre, specifically, is an ideal method to authenticate the voices of the community regarding the complex subject matter of "research," especially as it pertains to minority communities. Playback Theatre has been used worldwide to establish a dialogue between community members and researchers in order to explore various problems including violence, sexuality, and health concerns [1][2][3][4]. Playback Theatre empowers audiences by allowing "tellers" to have their situation or story acted out on stage in front of both the teller and the audience [3].…”

Section: Introductionmentioning

confidence: 99%

Project Reech: Using Theatre Arts to Authenticate Local Knowledge

Mosavel

Thomas²

2010

New Solut

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Marginalized communities need to be heard and validated within their local context, so that individual and community support can be garnered and ownership of the concerns can be embraced. This article reports on three modalities that were used in the community outreach activities of Project REECH. The goal of Project REECH is to engage residents in low-income neighborhoods in a dialogue with researchers to identify the major health concerns in their community. With the aid of these community conversations, the goal is to identify and train community residents to conduct such community-identified research in their neighborhoods. This article primarily explores and evaluates the use and effectiveness of an arts modality called Playback Theatre. Also, it briefly reports on the use of Readers' Theatre and graphic facilitation to aid in the dissemination of the data collected from these community conversations.

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Audiencing the Audience: Playback Theatre, Performative Writing, and Social Activism

Cited by 29 publications

References 0 publications

Playback Theatre and Narrative Therapy: Introducing a New Model

Playback Theatre and Narrative Therapy: Introducing a New Model

Social Movement Audiences¹

Project Reech: Using Theatre Arts to Authenticate Local Knowledge

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Audiencing the Audience: Playback Theatre, Performative Writing, and Social Activism

Cited by 29 publications

References 0 publications

Playback Theatre and Narrative Therapy: Introducing a New Model

Playback Theatre and Narrative Therapy: Introducing a New Model

Social Movement Audiences1

Project Reech: Using Theatre Arts to Authenticate Local Knowledge

Contact Info

Product

Resources

About

Social Movement Audiences¹