My focal point will be on the Sligo based ensemble group ‘Touch the Sky ‘ , their fashioning procedure and public presentation. It was while working collaboratively with Touch the Sky that my attending was captured to the procedure and public presentation of play and theater. Through geographic expedition of methods, selected practicians and a sample of attacks including ; Devised Theatre, Dramatheraphy through to Applied Theatre and its classs of Drama in Education, Theatre in Education, and Community Theatre. I hope to foreground the authorization and theatrical significance disablement ensemble groups contribute.
I will get down by reexamining relevant literature, cardinal methods and practicians that enrich and underpin the procedure and public presentation of play and theater in this context.
I will analyze the procedure and result of workshops held with ‘Touch the Sky ‘ ensemble group between. I will interview group members and practicians to derive apprehension of their experiences and responses. These workshops and interviews will be an of import beginning for the statement that play and theatre interruptions boundary lines and barriers.
In the field of Disabilities and the Humanistic disciplines I have found that there is a deficiency of certification and information in single and group positions on take parting in the procedure of play and theater in a performative sense. I am drawn to this research as I view drama as hands-on, experiential acquisition that engages head, organic structure, voice, and emotions to construe and convey to others the world of life. I am besides interested in the personal and performative results of play that emerge from take parting and easing in the play procedure. I hope to make awareness amongst a wider audience of the work that is traveling on in the field of incorporate public presentation.
Touch THE SKY
‘Touch the Sky ‘ public presentation group formed four old ages ago when, Declan Drohan talk of Performing Humanistic disciplines at Sligo Institute of Technology and practician in field of play and disablement began working together with The Model Arts and Rehabcare Sligo. It is a alone coaction that engages play and theater. The group seeks to mainstream humanistic disciplines and disablement pattern through new attacks to public presentation. It is an illustration of how the humanistic disciplines can dispute perceptual experiences of disablement humanistic disciplines pattern through advanced undertakings and public public presentation. The group participants are to the full committed to developing their accomplishments and capablenesss to the degree where they can dispute public perceptual experience. Therefore they seek to inform and educate, with a committedness to the rules of inclusion.A
I began working with ‘Touch the Sky ‘ as portion of my work arrangement from Sligo IT. Before I joined the group on at the beginning of May ( 2010 ) , the group have successfully preformed to sell out audiences at The Model and the Factory Sligo. Their public presentation called Sleepwalk was portion of the Cairde Festival in July 2007. They besides performed at Strule Arts Centre in Omagh, Co. Tyrone In March 2008.
For their current undertaking, ‘Touch the Sky ‘ meet one time a hebdomad to take part in a two-hour workshop, which focuses on the groups, and indivadul apprehension of Northern Ireland, yesteryear and nowadays. In this research I examine the procedure of the workshops and the performatve results. Together with Decaln and myself the group members focus on what the term ‘cross boundary line ‘ and ‘crossing the line ‘ agencies. Through disscusion and improvisation their thoughts are translated into preformance. The group besides challenges the stereotypes of what boundary lines or barriers are. The workshops are planned as a precursor to another public presentation group ‘Limepie ‘ Theatre. ‘Limepie ‘ are a deaf creative person enterprise based in Belfast. This current undertaking and public presentation is a cross-border humanistic disciplines enterprise under the Peace III support programme.
More information will be provided on Theatre group Limepie ad the Peace III support programme.
Peoples populating with disablements face a assortment of battles in their lives. They face continual challenges in happening valued functions in society. In doing play and theatre they can show themselves in varied functions, along with their sentiments and their creativeness. But more significantly they can make, creditable, enlightening, dramatic theater and art.
The members of ensemble group ‘Touch the Sky ‘ ; have a mixture of mild, larning and impairment disablements. The term ‘disability ‘ can hold an affect on how people with disablements are treated and perceived. The National Disability Authority says ; “ There are many definitions of ‘disability ‘ and the issue of a definition has proven to be one of the most combative issues… . ”[ 1 ]. In 2005 the Irish Goverment introduced the disablement act shaping ;
“ ‘disability ‘ in relation to a individual, means a significant limitation in the capacity of the individual to transport on a profession, concern or business in the State or to take part in societal or cultural life in the State by ground of an digesting physical, centripetal, mental wellness or rational damage. ”[ 2 ]
In relation to this survey I would prefer non to utilize the term ‘disability ‘ when speaking about members of the ensemble group ‘Touch the Sky ‘ . Yes, they may hold disablements, nevertheless I believe that disablement does non intend inability. Regardless of damages or disablements this ensemble group works collaboratively along with manager Declan Drohan, to voice, make and execute play and theater.
Some preconceived thoughts show handicapped people as guiltless and therefore they are over protected. They are non asked for their sentiment on societal, cultural or political subjects. Because of this, boundary lines or barriers are created. On working with ‘Touch the Sky ‘ , I have found that their positions and thoughts on these subjects could be an built-in portion of society. Their personal restrictions do non relieve them from experiences ‘ . Their positions and sentiments are really existent. Drama and Theatre is a safe and originative environment, open to all people irrespective of restrictions.
DIFFERENCES/DISTINCTIONS BETWEEN DRAMA AND THEATRE
One of the greatest things about ‘drama ‘ or ‘theatre ‘ is that there is no individual manner of making ‘it ‘ . There are assorted methods, theories and techniques, which allow everyone to accommodate and larn. Creating and inventing play or theatre under this position, allows persons irrespective of their restrictions or abilities to make meaningful and purposeful play or theater.
We are all single people and through ‘drama ‘ and ‘theatre ‘ we can show our alone individualism. Through assorted methods and techniques persons can divide from their existent lives and express themselves in a safe environment and manner. The ability to transform is at the Centre of all dramatic and theatrical action.
However it is of import to sketch the differentiations between ‘drama ‘ and ‘theatre ‘ . Both footings are used interchangeably, nevertheless both footings have different significances. In pattern, they rely upon each other. Theatre is a contrived art signifier, normally done for and performed to an audience. Drama is about role-play, procedure of thoughts and geographic expedition of capable affairs. Drama ‘s focal point is non ever on public presentation although it may be portion of it.
In this research the ensemble group ‘Touch the Sky ‘ relied on both play and theater. They used play to treat their thoughts and to research the capable affair of boundary lines and barriers in Northern Ireland. While the term ‘theatre ‘ created a devised public presentation of still images on the capable affair along with a movie.
In the literature reappraisal I will analyze assorted play procedure, methods and theorists/practitioners. Devised Theatre provides a freedom to work collaboratively and bring forth original work. Applied Theatre covers the practise of theater and play in non-traditional scenes, it includes, Theatre in Education, Drama In Education, and Community Drama. Dramatherapy has proved that within play there is important possible for mending.
I will get down by looking at the procedure and practicians behind Devised Theatre. Alison Oddey writes in Devising Theatre,
Devised theaters can get down from anything. It is determined and defined by a group of people who set up an initial model or construction to research and experiment with thoughts, images, constructs, subjects, or specific stimulations that might include music, text, objects, pictures, or motion. A devised theatrical public presentation originates with the group while doing the public presentation, instead than get downing from drama text that person else has written to be interpreted. A devised theater merchandise is work that has emerged from and been generated by a group of people working in coaction.[ 3 ]
In this description Oddey highlights the corporate creative activity in theater. For disablement groups inventing gives collaborative ownership to work, and provides a voice for persons. Theatre and Drama ‘s strength, lies in its catholicity. The coaction between the members and the manager of Touch the Sky supports Oddey ‘s description. The inventing coaction allowed each participant to be physically and practically originative in the undertaking. It was spontaneousness, improvisation, freedom and intuition that helped organize thoughts. Music, text, books, research, objects, and images were used to make thoughts around the piece of movie and public presentation images. Oddey negotiations about multi-vision in the procedure of fashioning, she says,
“ The procedure reflects a multi-vision made up of each groups member ‘s single perceptual experience of that universe as received in a series of images, so interpreted and defined as a product. “[ 4 ]
Through a ‘multi-vision ‘ of resources the ensemble group Touch the Sky, reacted and gave single and group responses to Northern Ireland, Identity, transmutation, cultural and societal context. The external boundary lines in Northern Ireland and the internal barriers within members and society were explored through fashioning and assorted stimulations. Hence back uping my statement that play and theatre non merely breaks boundary lines and barriers, it besides opens their constructions for scrutiny.
Devised theater is anchored within corporate art devising. Traditional functions of managers, performing artists, interior decorators, authors and dramaturge ‘s blend and blend together. Although working this manner is collaborative, the manager has an of import function to play. In Devised and Collaborative Theatre, practicians Tina Bicat and Chris Baldwin highlight the function of the manager “ as a facilitator of undertakings, as a undertaking nurturer, and frequently as the cardinal individual to travel between creativeness and objectiveness. ”[ 5 ]The manager can supply form and construction to treatment and thoughts, while “ guaranting that the production is conceptually and aesthetically consistent. ”[ 6 ]While the manager and coaction is of import, Oddey points out that when prosecuting or inventing theaters,
“ the primary entreaty is to be able to do a personal statement within a group context, to experience that one is portion of the devising of a theatrical experience, non an translator of something already written. ”[ 7 ]
Oddey ‘s statement supports the procedure within the workings and members of Touch the Sky, all join forcesing on this undertaking are “ portion of the devising of a theatrical experience ” , and it is an original piece of work.
Some of the methodological analysiss behind Devised Theatre can be seen in Applied Theatre signifiers. David Pammenter a practician of Applied Theatre, working in Community Theatre and Theatre in Education writes, “ Theatre, at its best, is the communicating and geographic expedition of human experience ; it is forum for our values, political, moral and ethical. ”[ 8 ]This statement is reflected in what Oddey said about inventing theater, that, “ the primary entreaty is to be able to do a personal statementaˆ¦ ” In the field of Theatre in Education and Drama in Education practicians such as David Pammenter and Dorothy Heathcote, have acknowledged the usage of play and theatre devising, as being good to both societal and personal development in grownups and kids.
The footings Theatre in Education and Drama in Education portion a committedness to the geographic expedition of theater ‘s usage as an educational medium. While both footings ‘ roots are in instruction and theater, they have differences. Theatre in Education is normally performed for schools or young person groups by professional play groups or actors/teachers. It ‘s normally a devised or written piece of theater centred on ‘real life ‘ or subjects relevant to the school course of study and pupils. Its message is communicated through dramatic interactions between actors-in-role and the audience/students. Drama in Education is based more on play workshops, that instructors or facilitators use in a schoolroom environment with pupils. Devised by the pupils, it may or non hold a public presentation as it utilizes play as a acquisition method.
Dorothy Heathcote a innovator of Drama in Education says,
“ Drama is a agency of acquisition, a agency of widening experiences even if we ne’er act in a drama or stand upon a phase. It is a human inherent aptitude to hold a ‘willing suspension of incredulity ‘ ( attributed to Coleridge ) . ”[ 9 ]
Betty Jane Wager a recognized authorization on the educational utilizations of play writes about Dorothy Heathcote as, a specializer on improvisation in play. Heathcote uses play to,
“ spread out kids ‘s consciousness, to enable them to look at world through phantasy, to see below the surface of actions to their significances. She is interested, non in doing dramas with kids, but in, as she footings it, buffing kids through the drama. She does this non by heaping more information on them but by enabling them to utilize what they already know. ”[ 10 ]
Heathcote was concerned with the experience within play, the engagement, transmutation and communicating of what pupils undergo one time presented with issues in a dramatic minute. Her methods allowed pupils to larn through play, while it besides challenged pupils to face their apprehensions ‘ of issues or subjects. Heathcote ‘s accent was non on public presentation, but “ upon societal play, seeing the premier value of the play in the ‘living through ‘ state of affairss and the penetration there is to be gained from them. ”[ 11 ]
As Theatre in Education has a procedure and public presentation method, its acquisition results are reached in a different manner. David Pammenter writes that if acquisition is to go on through ‘experience ‘ so there must be a connexion between the histrions inventing and the audience.
“ an experience that has been good planned, has deepness, truth, normally has its ain internal logic and has an artistic unity that reaches and involves the kid, and is disputing to both kid and performing artist. ”[ 12 ]
If there is a deficiency of apprehension or committedness on both sides, “ the experience will non keep much for the kid, and the TIE squad may go agents of bewilderment or tenet. ”
Touch the Sky acknowledges that larning from, and understanding the devised content is cardinal in procedure and public presentation. Research for the production of Traversing the Line necessitated the ensemble members sing Belfast and join forcesing with theatre company LimePie. They toured the metropolis of Belfast sing the Peace wall to derive inspiration and apprehension. In the workshop that was held, both ensemble groups confronted their apprehensions of the North and its problems, yesteryear, nowadays, and hereafter. There were treatments held on the ‘experience ‘ the members felt as they toured the metropolis of Belfast. While Touch the Sky has fashioning, coaction and public presentation at its nucleus, sections of the procedures in Theatre in Education and Drama in Education have softly contributed besides. The visit to Belfast gave the members ‘drama ‘ as Heathcote said, “ ‘living through ‘ state of affairss and the penetration there is to be gained from them. ” We returned to Sligo and our workshops with a greater apprehension of the history, people and originative humanistic disciplines in Belfast and the North.
Another signifier that lies under the header of Applied Theatre is Community Drama. Community Drama is normally devised and produced within specific communities. Declan Gorman, practician and Associate Artistic Director of Upstate Theatre Project in Ireland defines Community Drama,
“ In wide footings, it refers to original work for public presentation that has been generated from within communities, frequently in the context of community development or educational aims.[ 13 ]
Community Drama uses ‘drama ‘ as a medium to research subjects of involvement or issues relevant to the community. Its “ relevancy to the authors ain universe and that of their communities ” give it corporate individuality. Susan McDonnell writes in, The Theatre of Possibilities: Maping Drama in Community and Healthcare Contexts in the Northwest of Ireland, “ Inclusion in play activities affords an chance to entree and contribute to as facet of cultural life from which many people feel alienated. ”[ 14 ]McDonnell goes on to state that,
Engagement in the fashioning and theatrical production of a dramatic piece may hold a figure of positive results for persons and communities including beef uping community individuality and lending to societal coherence, larning theater accomplishments, developing co-operative competences and organisational accomplishments, heightening self assurance, and raising community and public consciousness on societal and political issues of importance.[ 15 ]
Barry Cullen implies in Creating Connections, that originative activity can help “ community development pattern ” .[ 16 ]Cullen ‘s findings on Community humanistic disciplines are reflected in the coaction between community and play. Community Drama helps to place the demands of a community, it encourages look and engagement within groups, it contributes to personal, group, and community development by bring forthing a public presentation from within the community. It appears that within Ireland, groups who could be characterized for assorted grounds as marginalized or disadvantaged addition a voice through Community Drama. When a community works collaboratively to detect external and internal barriers within their community and themselves ; barriers through play become inter-related and participants find that there insecurities, fright, or sentiments do n’t be in isolation.
Applied Theatre signifiers encourage originative input and procedure that seek transformative and acquisition experiences through devised play and theater. It explores society and the human status through a assortment of methods and procedures to better the originative demands and wellbeing of persons and communities.
“ The gay act of people coming together through play and theater is seen to hold societal and psychological importance. Theatre is both an activity set apart from mundane world, which at the same clip has a critical map in reflecting upon and responding to that world. ( Phil Jones P.3 ) ”[ 17 ]
The above quotation mark by Dr. Phil Jones a prima practician and theoretician in Dramatheraphy could be associated with Applied Theatre signifiers. Theatre in Education, Drama in Education and Community Theatre all take advantage of the societal and psychological impact that play and theaters can make. However while Dramatheraphy besides takes advantage it has a curative purpose at its nucleus.
Jones defines Dramatheraphy as,
Dramatherapy facilitates change through play processes. It uses the potency of play to reflect and transform life experiences to enable clients to show and work through jobs they are meeting or keep a client ‘s well-being and wellness. ( Phil Jones P.6 ) ”
Dramatheraphy can use to indivdual and groups scenes.
On entry the Literature reappraisal will be complete, I do non experience I can associate to some of the findings until the ensemble group Touch the Sky perform.
On concluding entry research findings will dwell of the ensemble group ‘Touch the Sky ‘ public presentation and movie. It will besides include interviews from members of the Touch the Sky, Declan Drohan manager or Touch the Sky and practician. It will besides hold interviews from other practicians and theater groups in the field of disablement.
WORKSHOPS AND DEVISING WITH, TOUCH THE SKY
In this subdivision I will foreground some of the procedures and methods used when inventing with ‘Touch the Sky ‘ .
In the concluding entry infusions from workshops will be highlighted.
On concluding entry this subdivision will reexamine the public presentation of still images Touch the Sky held on the 1st of December 2010.
For this undertaking and public presentation, the manager and members of Touch the Sky collaborated with local film maker Caroline Clancy. On December the first 2010, a movie documenting the originative procedure of ‘Touch the Sky ‘ entitled “ Traversing the Line ” will be shown at the Model Arts Sligo. The movie highlights the workshops focal point on boundary lines and barriers with the subject of Northern Ireland and its problems at the nucleus. It shows how the group researched their subject by sing Northern Ireland and by working collaboratively with an ensemble group at that place. The content of the movie underpins the public presentation of still images that ‘Touch the Sky ‘ will execute unrecorded on the dark.