Intimacy Choreography and Cultural Change: An Interview with Leaders in the Field

Fairfield, Joy Brooke; Sina, Tonia; Rikard, Laura; Dunn, Kaja

doi:10.1353/dtc.2019.0024

Cited by 4 publications

(3 citation statements)

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“…What opportunities are there to have agency over how she frames the story now, even if the experience she is recounting is one where she felt disempowered? Which artists might she (Fairfield, et. al 2019).…”

Section: Questions For Assessing Riskmentioning

confidence: 99%

Do we Get More Points if we Take Bigger Risks? Modeling Boundary-Setting in the Undergraduate Acting Classroom

Savard¹

2023

JCBP

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Building from the ideas and practices of Theatrical Intimacy Education which provide guidance on how to set and communicate boundaries, this essay will outline some tools that may help educators and directors facilitate frank and open conversations about the decision-making processes that go into boundary-setting and giving informed consent. The article lays out how Theatrical Intimacy Education’s work around consent and boundaries may be put into productive conversation with applied theatre’s work around risk. The author describes the ways that they have engaged in conversations with their own undergraduate acting students about risk and boundary-setting in the context of devised performance. Finally, combining concepts from intimacy direction, applied theatre, and trial-and-error pedagogical praxis, they propose a framework and tool that theatre educators and directors might use to facilitate conversations about risk, boundaries, and consent in their own classrooms.

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Section: Questions For Assessing Riskmentioning

confidence: 99%

Do we Get More Points if we Take Bigger Risks? Modeling Boundary-Setting in the Undergraduate Acting Classroom

Savard¹

2023

JCBP

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“…Just as Tarana Burke's "me too" movement did not receive larger recognition until it was adopted by white, Hollywood actors, much of the foundational work that intimacy choreography is built on draws from the unrecognized labor of Black women in various scholarly and creative traditions. As director, intimacy choreographer, and activist Kaja Dunn points out, Black theater makers and educators have long fought for the consideration of consent-based frameworks and cultural competency within and outside the theater industry (Fairfield et al, 2019). Despite being heavily influenced by the work of Black scholars, activists, and artists, the field of intimacy choreography remains largely dominated by white women.…”

Section: Intersectionality In Intimacy Choreographymentioning

confidence: 99%

“…It is also important that intimacy choreographers understand their own racial embodiment and how it affects power relations between themselves and those with whom they work. While arguing the importance of intersectionality in intimacy choreography, Dunn offers that it is often easier for people to recognize the violence of patriarchy against women but fail to see how white women can use patriarchy as a form of racialized violence against Black men (Fairfield et al, 2019). Considering this type of intersectional analysis is vital if intimacy choreographers want to create meaningful change and reduce harm.…”

Section: Intersectionality In Intimacy Choreographymentioning

confidence: 99%

Onstage Intimacy: How Queer, BIPOC Actors Navigate Intimate Performance

Gianna DiGregorio

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the Bay Area theater community found itself at a critical juncture. What many BIPOC, queer, and femme artists had been discussing, writing about, and organizing around for decades suddenly flooded the cultural zeitgeist, encouraging more people-especially white people-to contend directly with racism, coloniality, and their own complicity in those systems. Motivated by the national civil unrest over police brutality, a group of self-identified BIPOC theatermakers collectively published a testimonial titled, "We See You White American Theater," expounding on the injustices these communities of artists faced. The collective, thereafter known as We See You White American Theater or WSYWAT, wrote about the ways in which American theaters profit from Black people while continuing to marginalize those same artists by gatekeeping leadership positions, producing very few BIPOC stories, and avoiding accountability after harming BIPOC employees. Within 24 hours, the letter was circulated through various social media outlets and signed by over 50,000 artists (About, n.d.).More signatories are still being added. WSYWAT's powerful testimonial served as both an indictment and a rallying cry. Understanding that the systems that enabled police to murder George Floyd in Minneapolis were the same systems enabling the marginalization, exploitation, and mistreatment of artists of color, theatermakers across the country joined local movements to address a longstanding rot within the industry.As the Movement for Black Lives-a coalition organizing for Black liberation in the United States-led to demands for structural change within theater institutions, it unearthed many

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The absence of trauma-informed practices in the high school production process: A qualitative study

Chrismon

Carter²

2023

Youth Theatre Journal

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Intimacy Choreography and Cultural Change: An Interview with Leaders in the Field

Cited by 4 publications

References 0 publications

Do we Get More Points if we Take Bigger Risks? Modeling Boundary-Setting in the Undergraduate Acting Classroom

Do we Get More Points if we Take Bigger Risks? Modeling Boundary-Setting in the Undergraduate Acting Classroom

Onstage Intimacy: How Queer, BIPOC Actors Navigate Intimate Performance

The absence of trauma-informed practices in the high school production process: A qualitative study

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