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Transcript of Accessible Theatre
Development of 1:1
“Audience participation has always been important in applied and social theatre, where the aim to engage audience members in social activism and personal development has often been achieved through direct involvement in drama at the point of performance of a play”.
(Gareth White, 2013, p.82)
Change in our ideas...
- Learning about the children
- Learning the best approach
- How these affected our plans
To what extent can we make theatre accessible to those in a non-theatrical setting?
Here is Molly acting as a Pirate...
Example: Role Profile
1. Explored and developed in two halves: Character for performance and relationship with child.
- Interaction in role
- Transferring roles to specific settings (entrance and meeting the child)
3. Consideration of relationship
Above: Molly acts as child whilst Paige experiments with interaction, specifically her entrance into isolated rooms as the character 'Pip' the Lost Boy.
Above: Ellie explores interaction with Philly (child) as her character 'Poppy' the Pixie.
interaction with Philly
"In addition to talent and craft, the capacity for warmth and compassion is an essential ingredient"
(Cleveland, 1992, pg.174)
"Distraction is the facilitation of an effective coping strategy for children and young people undergoing treatments of procedures, according to the particular situation and the child/young person’s individual needs. When children are relaxed they are quicker to treat, happier and not fearful of further treatment that may be necessary"
, 2012, p.?).
List of References
Cleveland, W. 1992. Art In Other Places, Artists at Work in America's Community and Social Institutions. Westport, CT: Praeger Publishers.
White, G. 2013. Audience Participation in Theatre, Aesthetics of the Invitation. [Online]. Hampshire: Palgrave Macmillan. [Accessed 9 May 2014]. Available from: https://www.dawsonera.com/readonline/9781137010742
Macqueen, S et al. ed(s). 2012. The Great Ormond Street Manuel for Children's Nursing Practices. [Online]. West Sussex: Blackwell Publishing Ltd. [Accessed 9 May 2014]. Available from: https://www.dawsonera.com/readonline/9781118274224
The Site-Specific: Performer/Patient Interaction
"You can get carried away in different directions rather than being consistently obliged to make things happen."
(Johnston, 2009, p.95-96)
Pirate, Pixie and Lost Boy engage with an able yet shy patient.
“Good preparation is absolutely vital[…] The opportunity of play before procedure is also a way of helping children to achieve a relaxed state of mind.”
(Macqueen et al, 2012)
Presentation to Professionals
"Prospective artists are usually asked to provide resumes and press clips as well as to audition."
(Cleveland, 1992, pg. 174)
Childrens Assessment and Treatment Unit Ward 9 Leeds General Infirmary
Joker encourages the spectators to step into role to actively show offer their solution to the scenario, turning the audience from passive spectators to active spect-actors.
(Boal, 2007, p.?)
Facilitated by a 'Joker'
Ward 9 - Assessment and Treatment (Short Stay)
Ward 10 - Liver and Renal
Ward 11 - Dialysis, Kidney Failure
Ward 30 - Cystic Fibrosis
Ward 31 Oncology
Boal, A. 2006. The Asthetics of the oppressed. Routledge. Oxon.
Brodzinski, E. 2010. Theatre and Health Care. United Kingdom: Palgrave Macmillan.
The Rehearsal Process: workshops to explore character, interaction and adaptability
Companies that may be used to more robust settings may need to engage in quite a shift of emphasis when working with people who are vulnerable and/or ill
(Brodzinski, 2010, pg.20).
‘We don’t want theatre groups coming in here with their clodhoppers on shouting and swearing’
(Brodzinski, 2010, pg.20).