http://hdl.handle.net/2451/75077 Sat, 11 Apr 2026 04:27:40 GMT 2026-04-11T04:27:40Z http://hdl.handle.net/2451/75263 Title: Rehearsing for Change: Freire, Play, and Making It Real Authors: McLaren, Mary-Rose Abstract: This study explores the process and impact of building an ethnodrama in a Higher Education classroom. It examines the ways in which play, image theatre, and improvisation are used to invite students to explore their individual and collective narratives in order to develop professional identity and personal agency. This work is based on Freire’s Pedagogy of the Oppressed and Boal’s Theatre of the Oppressed. An example class in which students analyse the key concepts of privilege, opportunity, knowledge, democracy and education is described and located within the process of building the ethnodrama. Student responses to the experience of participating in building an ethnodrama are examined. In particular, their perceptions of the enactment of change in the process of making the play, and playing within the play, highlight their understandings of themselves as changed people, and their sense of collaborative and community empowerment. Tue, 01 Jun 2021 00:00:00 GMT http://hdl.handle.net/2451/75263 2021-06-01T00:00:00Z http://hdl.handle.net/2451/75262 Title: Picture Other Voices—A Conflict Transformation Drama Project Authors: Ingleson, Dawn Abstract: This project explores how immersive and Forum Theatre can be used to help resolve conflict in school. Kate Beales and Dawn Ingleson worked with 8–11 year-old children from a London Primary School Federation. Inspired by the picture book, Voices in the Park, by Anthony Browne, workshops included applied theatre methodologies and drew on conflict resolution models including, Nonviolent Communication (Rosenberg, 2015), Systems Theory (Walker, 2012) and Philosophy for Children (Lipman, 1988, Glina, 2012) to create a simultaneous community of inquiry and practice using versions of Forum Theatre (Boal, 2019) and Process Drama (Taylor, 2005) via a journey of immersive practice. The children were invited to resolve a conflict having chosen a character to follow. In immersive theatre, ‘Audiences must make choices about where they go, the characters they follow and the rooms they find. They choose the show they see’ (Higgin, 2017). The experience involved the audience deliberately privileging some aspects of the narrative over others—just as participants would in a conflict. This paper discusses the findings of the project demonstrating that the children could explore broader perspectives than those visible and express empathy in their reflections on character behaviour. Findings are valuable for Headteachers looking to improve school ethos, inclusion and inhibit social barriers to learning. Tue, 01 Jun 2021 00:00:00 GMT http://hdl.handle.net/2451/75262 2021-06-01T00:00:00Z http://hdl.handle.net/2451/75261 Title: Creating a Graphic Representation of Ibsen’s A Doll’s House: An Interdisciplinary and Experimental Collaboration between a Performer and an Illustrator Authors: Fortin, Moira Abstract: This article reflects the unique and innovative methodological approach taken in the development of PROYECTO NORA. This interdisciplinary and collaborative research project aimed to work through and into the intersections between illustration and theatre, with the aim of creating an illustrated book of the play A Doll’s House by Henrik Ibsen as an outcome of this process. Through the graphic transposition of Ibsen’s work our intention was to create a parallel story to the dramatic written text, enabling new viewpoints and perspectives. To achieve this, Carolina Schütte González and I explored the story through the use of the actress’s body to create the main female character, Nora. Through embodying Nora’s thoughts and feelings, we sought to expand upon and deepen our understanding of the character and the wider story. We documented, filmed and photographed the process of creating our own Spanish version of Ibsen’s text, and our innovative and emergent rehearsal process in which we created Nora’s movements, postures and gestures in hopes of uncovering and expressing thoughts, feelings and emotions that are unseen and unspoken throughout the text. During this five-week long process in Santiago, Chile, and against a backdrop of widespread protests and riots in the country, we created a unique collaborative methodology that travelled towards art through theatre resulting in the creation of a graphic transposition of Ibsen’s work. Tue, 01 Jun 2021 00:00:00 GMT http://hdl.handle.net/2451/75261 2021-06-01T00:00:00Z http://hdl.handle.net/2451/75260 Title: Active Theatre History Authors: Flynn, Rosalind M. Abstract: The study of Theatre History, overwhelmingly considered beneficial to high school theatre students, has a greater success of engaging them if it involves active and creative learning. That’s the theory; this article describes one praxis that supports the theory. It is a learning activity that incorporates higher order thinking skills to synthesize knowledge into the creation of something new. This project requires students to research genres or eras of theatre history and function as playwrights who write a scene that reflects the characters, conflicts, and conventions of a given period. Enhancing the goal of moving from theory into practice, this article provides a detailed description of the praxis and includes accompanying resources. Tue, 01 Jun 2021 00:00:00 GMT http://hdl.handle.net/2451/75260 2021-06-01T00:00:00Z