Why theatre-based research works? Psychological theories from behind the curtain

Bleuer, Jessica; Chin, Matthew; Sakamoto, Izumi

doi:10.1080/14780887.2018.1430734

Cited by 11 publications

(22 citation statements)

References 31 publications

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“…Reality disjunctions, they argue, likely arise because of an inability to retain ‘what has been said previously in the ongoing conversation’ (p. 3). A unique strength of the dramatic arts is their ability to represent experience through image, gesture, and sound (Leavy, 2013) and, thereby, to capture and convey the embodied, sensory details of social life (Bleuer et al, 2018; Schweitzer, 2007). Acting out a story ‘as if’ it is happening in the here-and-now carries an immediacy that enables people with limited memory to engage with and reflect more easily on what is being shown or told (Hubbard et al, 2003).…”

Section: Discussionmentioning

confidence: 99%

From reality disjunctions to dramatic reality: Bridging realities through the performance of life stories in dementia care

Novy

2019

Dramatherapy

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This article explores the potential for a performative life story project to build bridges between different realities and, in so doing, to establish common ground between people who are living with dementia and members of their community. The discussion is anchored in a practice vignette from a single-case life story performance. Two features of the methodology, the ‘saying hullo again’ metaphor from narrative therapy and dramatic reality from drama therapy, are highlighted. Their combined effectiveness as an alternative framework for understanding and working with reality disjunctions in dementia care is discussed.

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Section: Discussionmentioning

confidence: 99%

From reality disjunctions to dramatic reality: Bridging realities through the performance of life stories in dementia care

Novy

2019

Dramatherapy

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“…With all this in mind, if the work is presented with artistic ability and methodological coherence, it can attain total legitimacy in the academic field (Crimmins, 2016). Thus, there is a growing number of researchers who craft poetic or performative narratives to represent the results of their research (Bleuer et al, 2018; Jenkins, 2010; Prendergast & Belliveau, 2012; Saldaña, 2016). Writes Prendergast (2013), “All art forms offer each of us the chance to reflect more deeply on existence and self through the action and reception of creation” (p. 12).…”

Section: Meeting With Arts Based Research: a Turning Pointmentioning

confidence: 99%

Open Circle: Playing Coexistence in Ten Movements

Iriarte

Prendergast

2020

Qualitative Inquiry

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The central focus of this article is Open Circle, a play written by Esther Uria-Iriarte that follows Arts Based Research (ABR) methods in theatrically interpreting the results of a doctoral research study carried out in four secondary schools in The Basque Country of Spain. The research aims to analyze the implications of theater as a methodological strategy for the improvement of coexistence in secondary students of The Basque Country. Open Circle is accompanied by the relevant theoretical foundations that support the ABR methodology and the aesthetic strategies applied to writing the play. In an intercalated way, we present various fragments of the theatrical work that reflect the researcher’s feelings during the research process, including her difficulties and vulnerability in working with adolescent participants, as well as her frustrations in facing the contradictions in her research results.

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“…From those, at least three projects uses political theater as a tool to disseminate research findings, organize groups and capture and communicate knowledge about social relationships. Bleuer et al (2018) argue that the capacity of theater of capturing and communicating relational aspects are particularly useful for knowledge mobilization.…”

Section: The Subjectsmentioning

confidence: 99%

“…The project also promotes a regular study group, that invites the participants to think about data, strucutral issues and to study feminist texts. And finally, we invite the public to feel how a scientist feels, how a woman feels, The ability of the theater for capturing and communicating knowledge about social relationships in ways that are not always possible through texts (Bleuer et al, 2018), makes the Terra em Cena program an articulator of transdisciplinary activities.…”

Section: The Projectmentioning

confidence: 99%

“…In a psychological point of view, theater enables audience members to cultivate greater empathy for the issues witnessed on stage (Bleuer et al, 2018). In particular, theater is an extraordinary tool to gender issues in science mobilization, taking into account that beyond explicit violence and harassment against women, subtle violence (and legal violent acts) are understood with empathy through theatrical acts, which doesn't necessarily happen through direct presentations or reports.…”

Section: The Theater Of the Oppressedmentioning

confidence: 99%

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Theatre, labs and gender: an education package to improve STEM working environment

Maciel

Gomide

Silva

et al. 2020

Preprint

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<p><strong>Abstract.</strong> Gender affects all aspects of life, and the working and learning environment of science, technology, engineering and geosciences presents no exception. Gender issues concerning access, permanence and ascension of women in exact and earth sciences careers, in general, relates between other causes, to the underrepresentation of women in science communications, sexual or moral harassment caused by professors and colleagues during undergraduate and graduate ages, or the overload of housework for girls, when compared to boys, during early school ages. In other words, gender imbalance in science and technology careers may be seen as the result of a series of structured oppression suffered by women of all ages. In this context, we propose the development of an education package designed to understand these processes at different levels. One of the tools of this package is known as the Theatre of the Oppressed. Elaborated by Augusto Boal in the 1970s, the Theatre of the Oppressed uses theatre techniques as means of promoting social and political changes. Usually, a scene takes place, revealing an oppression situation. The audience becomes what is called <q>spect-actors</q>, where they become active by exploring, showing, and transforming the reality in which they are living. In the context of gender issues in exact sciences careers, the students can stage situations that reveal subtle actions of power relations that usually put women in subservience places. Our experience showed that even though the acting is fiction, the spectators learn much from the enactment, because the simulation of real-life situations, problems, and solutions stimulates the practice of resistance to oppression in reality, within a condition that offers a <q>safe space</q> for practising making a change. The package also includes a set of laboratory routines based on the work of female scientists, directed to students from 12 to 18 years old. The idea of the labs is to work as a school reinforcement on natural sciences disciplines, and to give visibility to women in science, improving issues such as underrepresentation and mistrust in women work. We show the evaluation of learning efficiency by assessing the results of a quiz.</p>

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Why theatre-based research works? Psychological theories from behind the curtain

Cited by 11 publications

References 31 publications

From reality disjunctions to dramatic reality: Bridging realities through the performance of life stories in dementia care

From reality disjunctions to dramatic reality: Bridging realities through the performance of life stories in dementia care

Open Circle: Playing Coexistence in Ten Movements

Theatre, labs and gender: an education package to improve STEM working environment

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