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Can arts-based interventions reduce children’s peri-operative anxiety in paediatrics? A discussion of representative studies
Maagerø L.H., Grainger C., Sextou P.
Q2
This narrative literature review aims to provide a broad scope and objective analysis by identifying and summarizing published works surrounding the current research into how different forms of non-pharmaceutical and non-invasive arts-based methods can be used to reduce children’s peri-operative anxiety in paediatrics. While our search focuses on the peri-operative anxiety context, we build on wider research on the role of the arts in paediatrics and include representative studies from the last five to seven years. We highlight the most current findings in non-invasive interventions for hospitalized children, including primarily applied theatre performance in paediatrics followed by digital arts such as video games, virtual reality and music, to gain a better understanding of the current knowledge of how non-pharmaceutical and non-invasive arts-based methods can further be utilized in surgical procedures and treatments in paediatrics, how arts practitioners and hospital staff can better collaborate in such procedures and what further research is needed in relation to such methods for reducing peri-operative anxiety in children.
What can we learn from play? A comparative analysis of creative play and ‘playing along’ in dementia care environments
McCormick S.
Q2
In this article, I explore play in dementia care settings, specifically two types: creative play (play that engages creativity and imagination) and ‘playing along’. Acknowledging debates on truth-telling in dementia care, I consider how engagement-focused approaches in dementia contexts employ play to encourage connection, communication and care. To do so, I explore the work of researchers and applied theatre creatives in two projects, the Playful Engagement and Dementia Project and TimeSlips, alongside the communication strategy validation therapy. Considering the relational qualities and use of play in all three, I ask whether, in dementia care settings, embracing the flexible way in which play deals with the divide between fiction and reality can, without harm, address the needs of individuals living with dementia.
Convening the International Drama in Education Research Institute (IDIERI) Conference: Past, present and futures
Turner-King R., Kitchen J.
Q2
Since its inaugural conference in 1995, the International Drama in Education Research Institute (IDIERI) Conference has become one of the prominent research meetings in the field of drama education and applied theatre. Held triennially, the IDIERI Conference has brought together leading academics and practitioners to share practices and deepen their critical engagement with research. Recently, though, the impact of the COVID-19 pandemic on public health and international travel, as well as growing concerns around lowering carbon emissions, has thrown the purpose of academic conferences into existential uncertainty. In July 2022, the University of Warwick is set to host the tenth IDIERI Conference as a ‘hybrid’ live in-person and virtual conference with accompanying ‘local’ modes of workshop facilitation. This article offers a timely retrospective informed by reflections from past convenors and related literature. We analyse IDIERI’s role in the research community, focusing on its scope, its shifting boundaries and intersections, its internationalism and diversity, as well as its significance in the future sustainability of our evolving discipline.
Facilitating departures from monolingual discourses
French C.
Q2
This article locates and critiques monolingual discourses within applied performance praxis in the United Kingdom and South Africa, suggesting starting points for facilitating multilingual actors’ vast linguistic resources. Set out as a theorized reflection of praxis, I interrogate
how the facilitator can draw from actors’ linguistic resources without perpetuating dominant and potentially damaging language ideologies, by which I refer to the socially shared beliefs about language that shape and are shaped by language use. I discuss the powerful language ideologies
connected to so-called ‘standard’ English and constructed by dominant institutions to discover how they are reproduced in performance praxis. I also analyse performance examples engaging complex linguistic conditions related to both student and refugee groups in the United Kingdom
and South Africa to discuss varied facilitation approaches in context. Through my reflection, I reveal the complexities and opportunities for the facilitator navigating the socio-culturally and politically fraught terrain of language.
Ensayando el despertar: Miradas movilizadoras desde el pluriverso del Teatro del Oprimido, edited by Hjalmar Jorge Joffre-Eichhorn (2019)
Vivas-Martínez G.
Q2
Review of: Ensayando el despertar: Miradas movilizadoras desde el pluriverso del Teatro del Oprimido, edited by Hjalmar Jorge Joffre-Eichhorn (2019)
Hamburg: Hjalmar Jorge Joffre Eichhorn and Kickass Books, 481 pp.,
ISBN 978-3-00-064054-4, €20/$22 (individuals) and €60/$66 (institutions)
‘Breath, Belief, Focus, Touch’: Applied puppetry in simulated role-play for person-centred nursing education
Tizzard-Kleister K., Jennings M.
Q2
As a subject area that sustains itself on the productive tension between human and non-human agency, applied puppetry is a pragmatic and compelling approach to considering the role of objects in an anthropocentric world. In health care, mannequins play the role of simulated patients.
Most often, they simply stand in for the body of the patient. However, this misses the potential that the materiality of these objects holds when considered through applied puppetry terms. This article examines examples of puppetry used in simulated role-play (SRP) for training and assessment,
including a specific project involving applied puppetry with person-centred nursing (PCN) students at Ulster University (UU). It attempts to theorize how, when used in this way, applied puppetry is a metaphorical and translational act of anthropomorphism ‐ a process by which an object
can ‘become’ more than a thing. In this context, we seek to define a practice in which a mannequin fulfils its potential as a puppet-patient in SRP for PCN students.
Applied theatre, puppetry and emotional skills in healthcare: A cross-disciplinary pedagogical framework
Sextou P., Karypidou A., Kourtidou-Sextou E.
Q2
Artists such as actors and puppeteers in health care face emotional challenges in their work. This article investigates the interpersonal competencies and emotional skills of the artist who uses puppets in their practice in health-care contexts and settings. We present initial findings
from phase B of a wider longitudinal study. Phase A focused on actors in hospitals and drama trainees; Phase B uses qualitative research methods with actors, puppeteers and therapists as participants. Content analysis of data reveals that the main competencies the artist needs to deal with
emotional incidents in health care are empathy, self- and social awareness, self-care, self-reflection, emotional resilience and active listening. These skills are needed alongside acting and puppetry skills to develop competent and professional artists in healthcare. The study offers evidence
to further develop strategies of receiving, processing and communicating emotions safely and effectively within the protection of the artform. This study therefore diverts our attention from traditional training courses that are mainly about learning artistic skills to a cross-disciplinary
pedagogical framework that aims to enable artists to observe, reflect and process emotions before, during and after a performance with patients as theatre ‘audience’-participants.
Applied puppetry: Communities, identities, transgressions
Purcell-Gates L., Smith M.
Q2
This editorial outlines the scope of this special issue on puppetry. The issue editors introduce articles that theorize the use of puppets for a purpose and present dialogues with practitioners working in the field. The authors emphasize the power of puppetry within contemporary cultural systems and the plethora of diverse practices comprising applied puppetry. The lively and developing field of applied puppetry is presented as involving new thinking and methods that have been adopted globally. The editorial argues that applied puppetry, as well as being a set of practices that can affect the lives of participants, is also a robust academic field. The authors hope for a reconsideration of objects in applied theatre practice generally, as a way to further understand networks in socially engaged performance practices.
A grotesque act of ventriloquism: Raising and objectifying the dead on stage
Poster-Su T.
Q2
As a real-life figure who was extensively written about in medical journals after his death, but whose voice is entirely absent from the historical record, the character of Tarrare presents the theatre-maker with a number of ethical and artistic considerations. In documenting Tarrare’s life through puppetry and opera, Wattle and Daub engaged in both a literal and a metaphorical act of ventriloquism, wherein we put our own words into the mouths of the dead. Drawing on Levinas’s ethics of the ‘other’ and Salverson’s reflections on the ethics of documentary theatre, this article interrogates The Depraved Appetite of Tarrare the Freak as an example of documentary theatre and explores the unique opportunities and challenges presented when using puppetry to represent the historical ‘other’.
Community puppetry in Ireland
Torley K.
Q2
In this artist statement, Karen Torley explores the context of professional puppetry in the community. She provides an outline about how she introduces puppetry to a group setting with care and sensitivity. She presents her important methods that activate a puppet and describes how she has used these throughout her practice. Her approach emphasizes the connection of breath, belief, focus and touch (BBFT). She also describes how her work can connect to people with some anecdotal examples of puppetry in communities.
‘Objects with Objectives’: Applied puppetry from practice into theory
Grant D.
Q2
This article draws on the dialogue between puppetry and applied drama that arose from the AHRC Objects with Objectives Research Network in 2017–18 to explore a tentative theory of applied puppetry. A range of theoretical approaches to applied drama are examined in the light of practical examples of applied puppetry using case studies from Northern Ireland, South Africa and Australia. Morton (2013) highlights how, in performance ‘tension between the material puppet and the imagined puppet’ gives rise to a kind of ‘double vision’ (Tillis 1992), a concept that the article considers alongside Gallagher’s (2005) distinction between body image and body schema, Brecht’s (1974) V-effekt, Meyerhold’s (1998) distinction between the materiality and agency of the actor and Boal’s (1992) idea of metaxis. The article concludes that the distancing and conductive qualities of applied puppetry often work in parallel and that the puppet can be seen as the site of metaxis when used in an applied context.
A systematic review of applied theatre practice in the Indian context of mental health, resilience and wellbeing
Crossley M., Barrett A., Brown B.J., Coope J., Raghaven R.
Q2
Abstract This systematic review seeks to evaluate the documented uses of applied theatre practice within an Indian context. For the purposes of this review, specific applied theatre practices were focused upon, notably community theatre, theatre in education, theatre in health
education and Theatre for Development. This article was written in preparation for a collaborative research project (<uri xlink:href="https://mhri-project.org">http://mhri-project.org</uri>) utilizing community theatre practices to investigate mental health and resilience within
slum (basti) communities in the city of Pune, in the state of Maharashtra in India. At its most particular level, the review focuses on theatre interventions within migrant slum communities. Of specific interest is the conjunction of applied theatre with research and practice in mental health
and wellbeing, and how such collaborations have investigated levels and modes of mental resilience within migrant communities. The review also draws upon related global research to contextualize and inform the Indian context. At present, systematic reviews are not prevalent within the research
fields of theatre generally or applied theatre specifically, yet these reviews arguably offer the breadth of objective evidence required to interrogate the efficacy of this practice. This review is therefore intended to rigorously map the existing academic research and the more diffuse online
dialogues within India that are pertinent to the subject; to consider the relations, contradictions, absences and inconsistencies within this literature; and, from this, to articulate key findings that may be integrated into the planning and delivery of new initiatives within this field.
Remembering Marcia ...
Prentki T.
Q2
The intuit: An investigation into the definitions, applications and possibilities offered by intuitive applied theatre practice with vulnerable youth
Abraham N.
Q2
Abstract This article offers insights into what might constitute intuition in applied theatre practices with vulnerable youth in London. The study will explore the approaches of five theatre companies working with children and vulnerable youth. A lead practitioner from each
company has been interviewed, and the interpretation of the data they have provided has offered new insights into the role of intuition as an approach to ensuring that applied theatre is responsive to young people living precarious lives. The research identifies two aspects of intuitive practice:
one that resides with the actions and thoughts of the practitioner, and the other that involves the acceptance of intuitive creative offerings by participants. The study has also revealed the potential heightening of intuitive responses for practitioners who share history, culture, location
or identities with their participants. As a whole, the findings offer useful potential considerations of key qualities for an intuitive practitioner, or the intuit, working specifically with young people in contexts of uncertainty.
Reviews
Inchley M., Bartley S., Massey-Chase K.
Q2
Applied Theatre with Looked-After Children: Dramatising Social Care, Claire MacNeill (2018) Oxford: Peter Lang, ISBN: 9 7817 8707 0714, 287 pp., £40.00
Applied Theatre: Economies, Molly Mullen (ed.) (2018) London: Bloomsbury, ISBN: 9 7813 5000 1725, 280pp., US$76.99
Web of Performance: An Ensemble Workbook, Monica Prendergast and Will Weigler (eds) (2018) Victoria, BC: University of Victoria Press, ISBN: 9 7815 5058 6220, free e-book, https://dspace.library.uvic.ca//handle/1828/9426
What does the actor need to perform in health care? Emotional demands, skills and competencies
Sextou P., Karypidou A.
Q2
Abstract
This article aims to explore the required skills and competencies of the actor who works in health-care systems. A narrative inquiry gave the opportunity for participants to elaborate on their understandings of their direct or indirect engagement with theatre in hospitals. Data were collected in the form of ten narrative interviews with experienced actors in hospitals and drama trainees. Inductive thematic analysis of this collection of qualitative data was used to allow findings to emerge from frequent or significant themes inherent in the semi-structured interviews. The study demonstrates a defensible emphasis on key themes, including the predictable professional skills such as acting in participatory dramas, using theatre improvisation and puppetry, and interpersonal skills such as emotional intelligence and empathetic awareness.
Fugitive knowledge: Performance pedagogies, legibility and the undercommons
Walsh A.
Q2
Abstract
In Held, the criminal justice project I conducted at the University of Leeds with second-year theatre and performance students, performance pedagogies were structured to produce an ethnodrama. As part of the course, I developed partnerships with community-based partners Leeds Magistrates, Her Majesty’s Prison and Probation Service, and Ripon House. Students presented the performed ethnodrama to partners and invited guests. In this article, I examine how such performance-making enables students to interrogate their own understandings about the criminal justice system. In particular, they were asked to think about precarity and criminalization, and how institutions rely on authoritative readings of ex-prisoners’ records. I reflect on how higher education institutions produce knowledge. Throughout, I offer critical framing influenced by Stefano Harney and Fred Moten’s The Undercommons.
Performing partnership: The possibilities of decentring the expertise of international practitioners in international Theatre for Development partnerships
Smith B.
Q2
Abstract
Building effective global partnerships are a key focus of the Sustainable Development Goals (SDGs), which will shape how international development looks until 2030. This article explores how international partnerships in applied theatre/Theatre for Development (TfD) initiatives are performed, and draws on the author’s own experience of being employed on a freelance basis by a non-governmental organization (NGO) to build on the skills of a Ugandan team to utilize theatre. Throughout the article, key moments during a month-long period of training are reflected upon and analyzed with reference to debates within international development, postcolonial studies and applied theatre. Through synergizing these debates, it is suggested that a decentring of Western ‘expertise’ enables more effective partnerships to emerge.
Joking a part: The social performance of folly
Prentki T.
Q2
Abstract
This article explores the relationship between folly, theatre and social change by proposing that folly is a core ingredient of social health. Ever since humans first formed social groups, their values and purposes have been questioned by those who play the fool. Over the last thousand years, the space for folly has often been the theatre, where relationships are rehearsed and replayed, sacred values tested and, if necessary, ridiculed, and social contradictions highlighted. Today the global dominance of neoliberalism, with its focus on relationships as business transactions and people as commodities, has resulted in the loss of playfulness from civic and civil society, a loss mirrored in the design and delivery of educational experiences that are focused on preparing young people for (un)employment, rather than acting as a playful space where the potentialities of being human are uncovered. There are, however, beacons of foolish performance flickering in the neoliberal darkness.
Thinking through the puppet, inside and outside immigration detention
Smith M.
Q2
Abstract
This article addresses the issues involved in the practice of applied puppetry in relation to immigration detention. Its reflections and assertions are situated within recent debates about the practice of the puppeteer with groups in workshops. This scholarly praxis has evolved from ideas drawn from the practice of a research project conducted in an immigration removal centre in the United Kingdom. The article explores making puppets and performing puppet shows in this traumatic detention environment, and reflects on the knowledge gained through subsequent lecture performances. The author has used puppetry previously in a number of unusual settings to engage groups, and these inform the discussion here. The article explores personal accounts of practice, experiences of workshops and questions about power and ethics.
The global organization supporting puppetry, Union Internationale de la Marionette (UNIMA), has been reflecting on the use of puppetry in education and continues to be a vital source in the development of these debates. For example, the publication The Power of the Puppet is a good introduction to the issues around using puppets with groups.
Empowering the disempowered: The dùndún drumming tradition in a British prison
Eluyefa D.
Q2
Abstract
There are many reasons why people lose their confidence, including social discrimination and/or lack of love. As a result of the social practice and value system, some people also experience deprivation within society (like people incarcerated in prison), leading to loss of personal identity and power. The theory of empowerment has been used by many scholars to deal with the issues of the powerlessness of ethnic minority groups who experience denigration (Collins 1990). This article focuses on four workshops that took place in a prison in Hampshire, England, where I explored drumming as an empowering activity using the dùndún (the ‘talking drums’), a set of a double-headed hourglass drums used by the Yorùbá, an ethnic group in Nigeria. The workshops gave participants the opportunity to express themselves freely within the British prison system. The names of the people have been anonymized. I introduce a theory called ‘Nonsense Theory’, which I coined and explored with the workshop participants. The main theme is empowerment, with a focus also on control, self-esteem, tradition and identity. The article analyses the concept of empowerment within the dùndún drumming tradition, and explores why it might have resonance in a prison.
Reviews
Bamuturaki K., Lee K.
Q2
Abstract
Applied Drama: A Facilitator’s Handbook for Working in Community by Monica Prendergast and Juliana Saxton (2013) Intellect, Bristol ISBN 9 7818 4150 7408, 241 pp., £16 (pb)
A Reflective Pra ctitioner’s Guide to (Mis)Adventures in Drama Education – or What wa s I Thinking? edited by Peter Duffy (2015) Intellect, Bristol ISBN 9 7817 8320 4731, £30.00
Evaluating drama in education through the capability approach
Ho L., Ridley B.
Q2
Abstract
This study attempts to understand the challenges faced by teachers when using drama-based pedagogy in teaching by looking at three secondary schools in Hong Kong. It also examines the consistency between the reform and its implementation by investigating the experience of the three schools. The study is based on the Education for Capability approach pioneered by Amartya Sen and Martha Nussbaum. The research adopted a qualitative approach, with in-depth case studies conducted from 2006 to 2010 in three Hong Kong government-subsidized English as Medium of Instruction (EMI) secondary schools that use drama pedagogies in their daily teaching. Data were collected through document review, observation and interviews with principals, teachers and students. The experiences of these three secondary schools suggest that the promotion of student-focused education by the government has injected energy to the reform and helped to nurture the development of educational drama in some Hong Kong secondary schools. However, internal and external conversion factors inhibited its adoption, making teachers question the practicality and feasibility of a wider use of drama pedagogy in their schools, however much they value – and have reason to value – it.
