Understanding cultural dimensions and contributions of theatre

Applied theatre, as I have experienced it, calls for a constant evaluation of the cultural dimensions of theatre. Theatre, placed within various contexts and with explicit intentions, brings with it a long list of questions. Some of the challenges I have explored in this paper; the rest I will continue to explore throughout my career. The use of the term “applied theatre” is itself a pointed gesture. James Thompson examines this notion when looking at the phrase the end of effect in relation to applied theatre. He offers to practitioners “a statement of limitations” and calls forward the need to examine “how things are done… why things are done and what the problems with those aspirations may be” (Thompson, 2011, p. 6). I have attempted, in the artifacts that I offer in this section, to examine both the effect and the affect of theatre, explicating the how, why, and problems that Thompson points to.

Selection of Master’s Thesis and Policy Memo

The first artifacts I have chosen for this section are a selection from my master’s thesis as well as a policy memo, which I adapted from my thesis research. I feel that these demonstrate an examination of the function that applied theatre can play within a given cultural context (a non-secure detention center for girls). I have chosen to include the policy memo as well because it speaks to my desire to communicate the value of applied theatre in spaces outside of the field (in this case in a policy course through the Wagner school).  Additionally, I feel that it speaks to an ongoing need that I have as a practitioner to effectively communicate the value of theatrical work in addressing various issues to those who do not practice theatre or applied theatre.

Grupo Sotz’il Analysis

Additionally, I have chosen my final research paper from Dr. Smithner’s class.  In this, we were asked to describe how a particular physical theatre company or form is connected to the broader world of physical theatre.  I chose this paper because I feel it is a strong representation of my struggle to describe the affect and effect of theatrical work. 

In this paper, I describe the work of Grupo Sotz'il, the theatre company in Guatemala that will become the focus of my doctoral research.  My struggle with writing about the company has been balancing the analysis of the creative work of the company (the affect), alongside the analysis of their place within the wider societal context in Guatemala (the effect).  I have included two versions of this paper to show my ability to respond to a critique that Dr. Smithner provided. The first version was too focused on the societal context and did not illuminate the use of theatrical forms by the company.  After receiving Dr. Smithner’s feedback on the paper, I wrote a second version that was more balanced in the critique of the physical theatre forms as well as the wider social context within which Grupo Sotz'il is working, showing both the affect and effect of their work.