The Radical in Performance

Kershaw, Baz

doi:10.1080/14682761.2000.10807041

Cited by 12 publications

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“…Es el objetivo último de la democracia cultural, cuando frente a la cultura dominante emergen otras culturas, otras voces, otras narrativas, otras formas de elaborarlas y decirlas. El sujeto teatralmente alfabetizado, libre en sus procesos de creación, asume la tarea de llevar su discurso a otras personas, colectivos y comunidades, contribuyendo de ese modo a su «alfabetización teatral», en un proceso de desarrollo y crecimiento mutuo que acaba por generar una nueva dinámica contrahegemó-nica en la esfera pública, combatiendo así la dependencia y la sumisión discursiva a partir de la heteroglosia (Kershaw, 1999;Goodman y De Gay, 2000;Kuppers y Robertson, 2007).…”

Section: La Expresión Teatral Y La Elaboración Discursiva Propiaunclassified

Trabajo Social y teatro: considerando las intersecciones

Vieites¹

2016

Cuad. Trab. Soc.

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21 IntroducciónEn su trayectoria profesional muchos especialistas en Trabajo Social se habrán de encontrar con la práctica teatral por todo lo que ésta, en su dimensión educativa y sociocultural, puede aportar a todas aquellas personas con las que trabajan a diario (Onieva, 2011 Resumen El teatro es una forma cultural y artística que implica un proceso de comunicación entre creadores y receptores en un espacio y en un tiempo que se sitúan en la esfera pública, lo que ha permitido que a lo largo de los siglos haya servido como espacio de expresión, intercambio o debate de todo tipo de ideas, causas y luchas. En ese proceso están implícitos procesos de expresión, creación y recepción por medio de los cuales las personas muestran, analizan y cuestionan formas de ver y entender la vida, maneras de ser y de estar en el mundo; de ahí deriva su potencial educativo, cultural, social y político, avalado por numerosos estudios e investigaciones. En este trabajo, que tiene una orientación teórica asentada en una revisión de literatura pertinente, consideramos diferentes intersecciones que se producen entre teatro y Trabajo Social, para señalar también que la expresión dramática y la expresión teatral ofrecen metodologías substantivas en la consecución de algunos objetivos del trabajo social, especialmente en ámbitos como la alfabetización crítica, la reflexividad y el reconocimiento, la concientización, la participación social, el desarrollo personal y/o comunitario, la apropiación de capital cultural o el acceso al bienestar personal y social. Palabras clave: teatro, Trabajo Social, alfabetización, concientización, participación. AbstractTheatre is a cultural and artistic form that involves a process of communication between creators and is received in a space and time located in the public sphere, which has meant that, over the centuries, it has acted as a space for expression, exchange and debate regarding all manner of ideas, causes and struggles. Implicit within this process are processes of expression, creation and reception, by way of which people demonstrate, analyse and question ways of seeing and understanding life, and ways of being and existing in the world. This gives rise to educational, cultural, social and political potential, which has been endorsed in numerous studies and investigations. In this work, in which theoretical orientation is established through a review of the relevant literature, we consider different intersections that occur between theatre and social work in order to also show that dramatic and theatrical expression offers substantive methodologies for achieving some objectives of social work, particularly in areas such as critical literacy, reflexivity and recognition, awareness raising, social participation, personal and/or community development, ownership of cultural capital and access to personal and social wellbeing. Keywords: theatre, Social Work, literacy, awareness raising, participation.

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Section: La Expresión Teatral Y La Elaboración Discursiva Propiaunclassified

Trabajo Social y teatro: considerando las intersecciones

Vieites¹

2016

Cuad. Trab. Soc.

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“…8 But by the 1880s, in England, minstrel-style song and dance shows, by white blackface and black performers had become what Baz Kershaw refers to as a "weapon of racism." 9 In Dahomey, however, in 5 form and content, was a response to this heritage and was sufficiently different to what had come before in terms of black performances, to cause confusion on its opening night at the Shaftsbury Theatre. As Daphne A. Brooks argues, the show was constructed to be a "departure from conventional minstrelsy plot machinations."…”

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confidence: 95%

In Dahomeyin England: a (negative) transatlantic performance heritage

Saxon

2015

Atlantic Studies

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The first all-black American musical comedy on Broadway, In Dahomey (1902-1905, has made a name for itself in America's theatre annals and in the history of black American audiences but, I argue, they were as driven by racializing strategies. The transatlantic racial narrative in England produced a series of discordant images across a matrix of blackness, negotiating slippage between black American and African. But, ultimately, as Gilroy argues, the "dislocating dazzle of whiteness," effectively sought to affirm race (white/non-white) as the ultimate marker of difference, dislodging other forms of cultural plurality in establishing an apparently unassailable racial narrative.Thus, race, as racial difference, was the primary, almost exclusive, subject of scrutiny

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“…AT embraces a wide range of theatre events that are staged "beyond theatre" (Thompson 2003) in a diverse range of settings from classrooms to prisons, community halls to rural gathering places, youth clubs to refugee camps. This panoply might also include corporate settings, which reflect the wide range of pro-market uses of drama and theatre which could by any other definition be included under the largesse of the applied theatre umbra but in this paper I am concerned with those forms of applied theatre which are determinedly prosocial and which make some political claim to be resistant to the values of new capitalism (Kershaw 1999, Thompson 2003, Nicholson 2005a). …”

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confidence: 99%

Taming the political: the struggle over recognition in the politics of applied theatre

Neelands

2007

Research in Drama Education: The Journal of Applied Theatre and

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Abstract:The emerging sub-field of Applied Theatre encompasses a wide range of pro-social "alternative" theatre practices, but it also refers to a discursive practice that seeks to reconcile the apparently contradictory claims of the politics of egalitarian redistribution and the politics of difference. The argument in this paper is that this emerging political position reflects a contemporary turn towards the identity politics of recognition and away from political theatre"s traditional concern with the "old left" politics of redistribution. A critique of the discourse of Applied Theatre, based in the political philosophy of Nancy Fraser and James Tully, leads to a consideration of the potential of a new left politics of recognition and dialogue in which the processes of participation in social and artistic struggle are seen as the practice of civic dialogic freedom. Keywords:Applied theatre, politics of recognition and redistribution, dialogic freedom, theatrical process and participation in the public sphere. Taming the political -FINAL FINAL DRAFT: 3/13Taming the political; the struggle over recognition in the politics of applied theatre Pro-social characteristics of the sub-field of applied theatre In the first pages of his biography of Meyerhold, Ted Braun (1998)

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The Radical in Performance

Cited by 12 publications

References 0 publications

Trabajo Social y teatro: considerando las intersecciones

Trabajo Social y teatro: considerando las intersecciones

In Dahomeyin England: a (negative) transatlantic performance heritage

Taming the political: the struggle over recognition in the politics of applied theatre

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