Applied Drama/Theatre

Introducción ¿Qué límites presenta el texto dramático para su realización en escena? ¿Hay una traductibilidad entre el texto y la puesta en escena, o bien, el montaje es un producto de la recreación mental, libre, casi arbitraria, que hace el director? En este artículo, se tratará de dar luz a estos tópicos a partir de dos grandes avenidas: desde la perspectiva lingüística, se

Essays: Roberto Ciancarelli, “Nota di presentazione”; Raimondo Guarino, “Opera delle convulsioni, patologia, ‘enrichment’: dal surrealismo alla cura delle pratiche”; Nicola Shaughnessy, “Acting in a World of Difference: Drama, Autism and Gender”; Aleksandra Jovićević, “Per sempre disobbedienti al patriarcato, alla guerra, al nazionalismo e al militarismo: le performance delle Donne in nero della Serbia”; Helen Nicholson, “For the Love of It: Theatre, Participation and Partnership”; Sruti Bala; “Theatre and the Risk of Fire”; Sergio Lo Gatto, “Il teatro contemporaneo come strumento culturale. Il caso di Spettatori Migranti”; Valentina Esposito, “Il teatro dentro e fuori gli spazi della reclusione”; Martina Storani, “Il Teatro Carcere come teatro: compagnie, repertori, drammaturgie”; Fabiola Camuti, “‘Affect’ vs ‘Effect’? Riflessioni sulla valutazione dell’impatto del teatro sociale”; Andrea Porcheddu, “L’ambiente che arricchisce: il teatro sociale come orizzonte di rinnovamento del tessuto sociale e umano”; Antonio Audino, “Oltre il teatro sociale: una nuova visione del corpo nelle arti e nella società”; Cecilia Bartoli, “Un teatro femminile e straniero a Torpignattara”; Emanuele Burrafato, “Contaminazioni, segni di innovazione, occasioni perdute nelle storie artistiche di Elisabetta Terabust, Amedeo Amodio, Luciana Savignano”; Nicola Usula, “«Tanto che gl’ascoltanti possino vedere»: azione e gestualità nei libretti profani di Antonio Draghi”; Isabella Molinari, “La raccolta manoscritta Intermezzi diversi della Biblioteca nazionale centrale di Roma. Tracce inedite per la ricostruzione del Carnevale al Collegio Romano”; Marco Solari, Alessandra Vanzi, “Da Venezia a Venezia”, intervista a cura di Roberto Ciancarelli e Andrea Scappa

The most distinguishing feature of performing arts courses is the culminating presence of an audience. Although direct research about how audiences play a teaching role in performing arts courses and in performing arts in general is scant, there is evidence describing and showing relational aspects between performer and audience in various environments. In an educational context, I propose calling this relationship the Audience-Performer Feedback Loop (APFL). Using this as a pedagogical basis and being faced with Health Authority restrictions during the COVID-19 pandemic, this project provides technologies and strategic solutions to mitigate and maintain the role in which audiences teach performing arts students synchronously. This paper includes technology tutorials for inexperienced teachers and producers to bring live, at-home, synchronous audiences into their theatres under the watchful eyes of performers who thrive on learning from their audiences in real time. More research is needed to prove how the audience plays a teaching role as a distinguishing feature of performing arts education. Future policies should make direct reference to APFLs in performing arts curricula and be accompanied by strategies and techniques for understanding, identifying, learning, and assessing how APFLs shape a performance and have direct influence on the development and skill of performing arts students.

This chapter explores a theatre mediation research project in the city of Bergen, Norway. It is an outreach project for grade 10 students, aiming at opening the doors to theatre for young people, involving Western Norway University of Applied Sciences in a collaborative venture with the city theatre: Den Nationale Scene, and two other partner institutions. The students were invited during school hours to see a play, Anne Pedersdotter (1908), by the Norwegian dramatist Hans Wiers-Jenssen (1866–1925), based on a witch trial in Bergen in 1590. The authors devised teaching materials and preparatory practical workshops for students, and researched the facilitation of and the responses to the introductory workshops. Following a brief tuning in to the overall project, the chapter first applies a topological reading of parts of the material. Secondly, it takes a quantitative perspective, before the chapter is rounded off.

This issue is an invitation to examine and interrogate access, an ordinary concept that grounds and motivates work across a variety of fields. One possible model might posit access as a physical act of opening a door to a pre-existing room: the politics of diversity in arts funding might be one example of this. Other notions of access could involve the dismantling of the conceptual and material world to make way for more fluid notions of access that alter the shape of society. Yet it may seem easier to understand access more by what it is not rather than what it is. The need for access is rooted in inaccessibility; through barriers. How might this deficit notion limit the ways in which we imagine access and accessibility in pedagogic, creative and research practices? How does one account for the relationship between access and power?