Paradoxes in Community-Based Pedagogy: Decentering Students through Oral History Performance

Armstrong, Ann Elizabeth

doi:10.1353/tt.2000.0008

Cited by 8 publications

(2 citation statements)

References 8 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In individual courses and extra-curricular projects educators are developing student-devised theatre-making forms to discover new dimensions of theatrical culture, stage performances in non-theatrical spaces, and conduct site-specific community projects. 55 A rich area of activity generally undiscovered at the college level lies in the field of primary and secondary education. Driven since the 1970s by artists and teachers in Great Britain, Australia, and Canada, the field once called "creative dramatics" has evolved into multiple applications including "drama/theatre" as social action.…”

Section: Practicing a Communicative And Engaged Pedagogymentioning

confidence: 99%

“Theatre in the ‘Engaged University’: A Context for Habermas’s Communicative Action”

Berkeley¹

2007

Journal of Dramatic Theory and Criticism

View full text Add to dashboard Cite

Throughout its history, the American university has learned to accommodate divergent functions-theological, humanistic, vocational, and scholarly, for example-that have been organized into curricula, and legitimized on the basis of changing ideas about the uses of knowledge. The growth of theatre studies has been complex and multifaceted but, in the end, its generalizable characteristics can be understood to fall into two prevailing curricular orientations. The first, an aesthetically-oriented curriculum, teaches the values of the liberal humanist approach. The second, a market-oriented curriculum, is characterized by professionalism and vocationalism. These formulations mark the triumph of "Enlightened" objectivity that has afflicted our practices with discordant beliefs about whether to teach humanistic content or the crafts of theatrical production. In the 1930s, this debate came to be identified as a dichotomy between "craft" or "culture."

show abstract

Section: Practicing a Communicative And Engaged Pedagogymentioning

confidence: 99%

“Theatre in the ‘Engaged University’: A Context for Habermas’s Communicative Action”

Berkeley¹

2007

Journal of Dramatic Theory and Criticism

View full text Add to dashboard Cite

show abstract

“…Again, the question arises: with what tools are students equipped to become active participants in this ecosystem? Ann Elizabeth Armstrong suggests that posing the question addresses curriculum as a site for "place-making" 42 and collaborative exercises between faculty and students. "The Oral History Project" assumes that students are critical, creative, and transformative agents within the field of theatre at large.…”

mentioning

confidence: 99%

Working the Field with Oral History: Talking Towards the Research Encounter in Theatre and Performance Studies

Nielsen¹

2009

Journal of Dramatic Theory and Criticism

View full text Add to dashboard Cite

When I began teaching within the auspices of a drama department some years ago, I wondered: how does this curricular structure imagine the student of theatre and performance? How does it initiate students into the field? Can there be something new in the practice of theatre and performance studies, in its curricular modules and methodologies of instruction, to nurture the energetic connections between its practical and scholarly components? Whether faced with the propinquities of BFA or BA degree programs, these questions are pivotal for developing talent, teaching, and leadership in the interdisciplinary fields of theatre and performance. It is not just that institutional structures consistently illuminate a familiar division of labor among the faculty or in turn reproduce that old sequencing in students, who sense that they can safely care either about scholarly or practical study (as if those divisions made any sense), but not so easily accommodate both identities in their work. In this way, curricular concerns are as institutionalizing as they are pedagogical. Students are always grappling with what those distinctions might mean as they navigate their own imaginations of what they might do; the quality of these negotiations, in turn, impacts not only how our students apprehend the field, but how they invent its future possibilities. As a process of initiation, an education in theatre and performance typically introduces students to the protocols of authority that define the distinctive paradigms and powers of the field, here appended as acts of making performances versus critical thinking about them, "as though studies were theory and the arts were practice."2 Curriculum development has always been one of the mechanisms to articulate and develop shifts in the organization of the field and its methodologies at the local level-sometimes, as those with an appetite for departmental histories know, with epochal struggle. Whether or not faculty choose to deliberate upon it, curricula elaborate theoretical agendas. Within the international theatre and performance studies community there is real commitment to the 1995 recommendation by J. Ellen Gainor and Ron Wilson that "educators need to reinforce performance considerations so that historical, theoretical, or strictly textual analysis do[es] not lose sight of the importance of artistic elements; and so that active, production-related components such as acting, directing, and

show abstract

Phronesis or techne? Theatre studies as moral agency

Berkeley

2005

Research in Drama Education: The Journal of Applied Theatre and

View full text Add to dashboard Cite

Paradoxes in Community-Based Pedagogy: Decentering Students through Oral History Performance

Cited by 8 publications

References 8 publications

“Theatre in the ‘Engaged University’: A Context for Habermas’s Communicative Action”

“Theatre in the ‘Engaged University’: A Context for Habermas’s Communicative Action”

Working the Field with Oral History: Talking Towards the Research Encounter in Theatre and Performance Studies

Phronesis or techne? Theatre studies as moral agency

Contact Info

Product

Resources

About