Theatre Script Research Articles

Verbatim theatre as a creative approach to health professions education research translation.

Traditionally, the impact and outcomes from health professions education research (HPER) have focused on academic outputs, whereas in the humanities, research translation is conceptualised more broadly and creatively, including research-based performances like verbatim theatre. Translating HPER findings through the emotive and embodied nature of a verbatim theatre performance provides a unique opportunity to translate research data and create alternative learning spaces for rich and valuable insights that aligns with transformative pedagogy. In this paper, we describe the background of verbatim theatre, a form of performance, which draws on a research participants' testimony and lived experience and how we used this creative approach to translate HPER findings. We discuss the experiential process of bringing an interdisciplinary team together, health professions academics and an academic playwright to craft a verbatim theatre script that provided space to honour the breadth, depth and diversity of participant voices from a large (n = 100) qualitative research study exploring professionalism and sociocultural factors in health professions education (HPE). Furthermore, we discuss the powerful potential of drawing on research-based performance to create alternative, safe and non-threatening learning spaces to resonate with and experience HPER in new and transformative ways. Finally, we offer reflexive insights on the key opportunities and challenges we encountered in translating HPER into a verbatim theatre performance. Verbatim theatre presents an innovative and creative way to communicate and translate HPER. This paper offers research and pedagogical insights in translating research into verbatim theatre to support transformative pedagogy and practice in HPE. In conclusion, we encourage other health professions researchers to consider this dynamic and creative approach to transforming HPE.

Vitalitas dan Terasi: Parodi Keilmiahan Riset

This study aims to explain the differences in beliefs between Western versus Nusantara paradigm researchers. Parody is an essential means of expressing discourse between paradigms, written with a theater script approach, which is then examined from paradigmatic differences, especially the use of assumptions and rules that ultimately have significant consequences in the formation and practice of science. A parody in the form of a theater script that emphasizes the differences in viewing the "validity" of research. Mockery actually occurs between researchers with different paradigms, and this parody affirms how the debate is something that keeps away from true paradigm, especially Nusantara Paradigm.

A Study on the Diversified and Integrated Business Model of Meta Theatre Script-killing Offline Shops

With the development of the times, young people are facing increasing pressure in their lives. The pressure they face is mainly composed of academic, financial, work and emotional pressure. According to the American psychologist Abraham Maslow in 1943 in his Theory of human motivation, an article for the first time put forward the theory of the hierarchy of needs: human needs can be divided into five from low to high, respectively, physiological needs, safety needs, social needs, respect needs and self-actualization needs. Therefore, the emergence of script killing today not only represents young peoples need for socializing, releasing pressure and wanting to be entertained, but also represents the importance of socializing in society. This paper mainly discusses the current situation and problems in the operation and management of meta theatre script killing offline shops, analyses by adopting the SWOT method, and the data obtained from reviewing the literature. This paper finds that, in order to operate a good script-killing offline shops, meta theatre shop owners need to understand the complex and changing environment, identify the problems in their own development, and take precautions against possible problems that they can stand out from the many script-killing shops, thus achieve the profitable operations of meta theatre script-killing offline shops.

Bridging the humanities and health care with theatre: Theory and outcomes of a theatre-based model for enhancing psychiatric care via stigma reduction.

This article describes the rational, methods, implementation, and effectiveness of Identity Development Evolution and Sharing (IDEAS), an evidence-supported, narrative theater-based training that reduces stigma among health care providers to increase health care equity in psychiatric rehabilitation. The IDEAS model has been used to reduce provider bias toward patients. From May 2017 to January 2020, we interviewed people from three patient groups who have been harmed by stigma, including Black women, transgender, and gender-diverse people, and people with substance use disorders. These interviews informed the creation of three theatrical scripts that were performed by professional actors for audiences of health care providers from January 2020 to May 2022. The performances aimed to raise conscious awareness of implicit provider biases and to provide a reflective opportunity to ameliorate these biases. The purpose of IDEAS is to improve experiences in health care settings such as psychiatric rehabilitation of patients from groups who have been harmed by stigma. We used paired-samples t tests to compare pre/postprovider stigma, measured via the Acceptance and Action Questionnaire-Stigma (AAQ-S). Sociodemographic factors for providers who viewed IDEAS were similar across all three performances. IDEAS significantly decreased AAQ-S scores (t = 11.32, df = 50, M = 13.65, 95% confidence limit: [11.32, 15.97], p < .0001). IDEAS reduces provider stigma to support positive clinical encounters with diverse patient populations. These findings are relevant for psychiatric rehabilitation settings, which seek to establish positive rapport between providers and patients. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

Promoting Honesty in Children, or Fostering Pathological Behaviour?

Promoting Honesty in Children, or Fostering Pathological Behaviour?

O TEOR TESTEMUNHAL NA PEÇA TEATRAL “O ABAJUR LILÁS” DE PLÍNIO MARCOS

Plínio Marcos' play “O abajur lilás” (1969) brings two issues to the scene: the first, the subjugation of the woman represented in the characters by the power relationship along with psychological and physical torture; the second, the historical context of the 1960s in which the play was written, with denunciations of atrocities and the abuse of power by the military against their victims. In this text, we will analyze how the testimonial content is represented in this theatrical script. The playwright, when writing his play with elements of testimony, elaborates the statement of the other, this other is the oppressed, and because this is so normal to many, this marginalized person becomes inspiring (DE MARCO, 2004). After all, one cannot think of the oppressed only from the perspective of their cultural individuality, but also from the field of their experiences of the traumas experienced by authoritarian regimes. (PACHECO, 2015). The testimony takes place through the contemplation of a witnessed event, after this event the witness restructures his reflection on the fact and the probabilities of representing. The testimony is still born out of compassion and fear from the marked horror by which the oppressed lived (SELLIGMANN-SILVA, 2000). It is observed that in the face of the violence experienced, the characters of the play “O abajur lilás” try to resist repression, and this, presents itself with a content of denunciation of the silencing of the oppressed.

The Slow Integration of Sustainability into Contemporary Theatre and Performance Practices in Cameroon

The Cameroonian theatre landscape, both Anglophone and Francophone, is not left untouched by current concerns and discourses about climate change, ecological degradation, and particularly environmental/natural sustainability. In this article, we will examine the emerging inclusion of sustainability in theatre and performances in Cameroon. Specifically, we will discuss the ways in which choices of costumes, makeup, stage props, and occasionally thematics reflect and seek to promote the sustainable management of Nature. Methodologically, we will employ data gathered from five current theatre troupes in Cameroon, interviews conducted with some theatre directors and practitioners, and the personal experiences of (some) co-authors who are also theatre practitioners. We will begin by discussing some unsustainable practices that characterised much of previous Cameroonian theatrical performances and then proceed to present the evolution of the situation, especially as demonstrated in the choices and deployment of costumes, makeup, stage props, and thematics in a selection of theatre performances and theatre scripts. In this way, we hope to highlight the contribution of Cameroonian theatre towards ensuring a just and sustainable planet Earth for all.

PEMERANAN TOKOH ROBERT DALAM NASKAH A LIFE IN THE THEATRE KARYA DAVID MAMET

A Life In The Theater by David Mamet is a theater script that tells about the problems of a stage actor's life between teacher and student that describes friendship, growth, development, and the human condition in life as a stage actor. To realize the character of Robert in the script of A Life In The Theater by David Mamet, the author uses the acting theory of Stanislavski The System, which is a systematic approach to training actors. In the process of playing the role, the magic if method is used, namely the ability to imagine the character is in a series of fictional situations and imagine how and what the character will do in dealing with the situation. Keywords: Actor, A Life In The Theatre, David Mamet, The System, Magic If

Arab theatre and plays: developmental stages and challenges

Arab stage plays took their time in the development and making their place in the world throughout the ancient times. The article shines a light on the phases and struggles Arab theatre went through in making such majestic art and performances that are a source of entertainment for people from all over the world. Mainly the struggles were because of religious issues that initiated many other issues like the censorship and not having enough popularity in the Arab states that put up a limit to the theatre establishments forcing the artists to make journeys in order to seek their audience as many things did not sit well in the mindsets of the religious Arabs. However, later on, the theatre started stretching its roots in the hearts of the audience. Performances like Shadow Puppetry and Passion plays took over many viewers and became an important part of the Arab culture. One of the most important eras in the history of Arabic drama development was that of the Egyptian era, which holds a reputation to this time and tells a lot of religious and historic stories through its innovative art play. The article also highlights the great contribution of Ibn Danyal Al-Khuzai to the plays through his three phenomenal theatre scripts that were enacted upon by many diverse cultures and ethnicities, furthermore, the influence Western drama culture made in Arab states and its impact that came with series of events.

The integration of affective domains in French Language learning: Translating molière into Malay

Translation is the communication of meaning by converting the source language to the target language. The discipline requires excellent mastery and control of both source and target language, as well as their affective values as in the cultures of both languages. As translation includes the high order thinking skills, the teaching of learning of translation is normally conducted using a traditional method. Hence, this research evaluates the effectiveness of theatre-based task in the learning of French-Malay translation. The respondents for the study were 54 French Language Studies students at Universiti Putra Malaysia. The translation theater project involves four phases, which are the translation of the Molière theater script Fourberries de Scapin to Malay, the selection of characters for the theater play, the management of the play, and the insertion of the script into the theater video. It was found that the theater task was well received by the respondents and effective as to enhance their team management skills (TS), creative thinking problem solving (CTPS), psychomotor (P6), communication skills (CS) as well as their cognitive skills (C5). Subsequently, the respondents reported putting their theoretical learning of the translation strategies into practice by performing the translation and the theater task.

Transitions Theatre: Creating a Research-Based Reader's Theatre With Disabled Youth and Their Families.

Transition to adult life can be a challenging time for disabled youth and their families. This article describes the collaborative creation of Transitions Theatre, a research-based reader's theatre activity based on narrative interviews with eight disabled youth (aged 17-22) and seven parents. Analysis of these interviews generated two opposing yet interrelated themes. On one hand, youth and families felt lost in transition facing multiple gaps in healthcare, financial support, education, and opportunities for social participation after having "aged out" of the pediatric system. On the other hand, they started cripping "normal" adulthood to envision more inclusive futures wherein disabilities are understood as integral to society. These two themes were transformed into two reader's theatre scripts, one featuring a youth, the other featuring a parent. Seven youth and four parents (six of them were original interview participants) then participated in a Transitions Theatre workshop to read the scripts together and discuss the authenticity and relatability of the scripts. Participant feedback suggested that the reader's theatre method was effective in sharing findings with research participants and stimulating a critical dialogue on how to (re)imagine transition to adulthood. We discuss the importance of implementing inclusive design strategies to make reader's theatre accessible to participants with diverse abilities and preferences.

Protocol for evaluating external facilitation as a strategy to nationally implement a novel stigma reduction training tool for healthcare providers

BackgroundIdentity Development Evolution and Sharing (IDEAS) is a theatre-based intervention for reducing healthcare provider stigma. IDEAS films are created by collecting narratives from people who have experienced discrimination and healthcare inequity, partnering with professional playwrights to create theatrical scripts that maintain the words of the narratives while arranging them into compelling storylines involving several interviews, and hiring professional actors to perform and record scenes. IDEAS implementation requires a moderator to establish a respectful learning environment, play the filmed performance, set ground rules for discussion, and moderate a discussion between healthcare providers who viewed the film and invited panelists who are members of the minoritized population being discussed. IDEAS’ impact on provider stigma is measured via pre/post Acceptance and Action Questionnaire – Stigma (AAQ-S) data collected from participating providers. The objectives of this manuscript are to provide narrative review of how provider stigma may lead to healthcare inequity and health disparities, describe the conceptual frameworks underpinning the IDEAS intervention, and outline methods for IDEAS implementation and implementation evaluation.MethodsThis manuscript describes a hybrid type 3 design study protocol that uses the Consolidated Framework for Implementation Research (CFIR) to evaluate external facilitation, used as an implementation strategy to expand the reach of IDEAS. CFIR is also used to assess the impact of characteristics of the intervention and implementation climate on implementation success. Implementation success is defined by intervention feasibility and acceptability as well as self-efficacy of internal facilitators. This manuscript details the protocol for collection and evaluation of implementation data alongside that of effectiveness data. The manuscript provides new information about the use of configurational analysis, which uses Boolean algebra to analyze pathways to implementation success considering each variable, within and across diverse clinical sites across the USA.DiscussionThe significance of this protocol is that it outlines important information for future hybrid type 3 designs wishing to incorporate configurational analyses and/or studies using behavioral or atypical, complex, innovative interventions. The current lack of evidence supporting occupational justice-focused interventions and the strong evidence of stigma influencing health inequities underscore the necessity for the IDEAS intervention.

“And So We Write”: Reflective Practice in Ethnotheatre and Devised Theatre Projects

This paper follows the author’s trajectory as he collaboratively experimented with ethnodrama (theatre scripts generated from interviews, media artifacts, and written media) and devised theatre performance (theatre collaboratively created with a group), culminating in the analysis of a performance with high school students combining elements of these forms. The author defines the forms, illuminates how he engaged with them over time, and how he adapted elements of them for work with his high school students. The author proposes a framework deduced from these experiences as a provocation for future performance projects and as a demonstration of an educator’s reflective practice.

MINANGKABAU TRADITIONAL THEATER IN THE FRAMEWORK OF DISCOURSE STUDIES

Basically, a theater script is a disclosure of life through the form of language. This study will look at how the Minangkabau traditional theater analyzed the frame of discourse studies and raised its moral message. The method is qualitative analysis with literature and field research. From the results of literature and field found that discourse that appears in theater scripts such as ceremonies, rituals, stories, or entertainment is an act of speech or events. As a cultural index, the language in the Minangkabau theater script also reveals the way of thinking and organizing the experience of its speakers which in certain fields appear in lexical items and as symbolic language culture indicates ethnic cultural identity.

Radical Black Theatre in the New Deal by Kate Dossett

Reviewed by: Radical Black Theatre in the New Deal by Kate Dossett Sara Rutkowski Kate Dossett.Radical Black Theatre in the New Deal. Chapel Hill: U of North Carolina P, 2020. 358 pp. $34.95. In a scene from the play Liberty Deferred, written in 1937 by Abram Hill and John Silvera, ghostly victims of lynching are admitted into the afterworld Lynchtopia, where they vie for a prize for having the most horrific murder. The winner, Claude Neal, who in real life was tortured and mutilated publicly in Alabama in 1934, then leads a march of lynch victims to the US Senate as a version of the song from Disney’s Snow White—which had been released in theaters that same year—plays “Hi Ho, Hi Ho, off to Washington we go.” There, the ghosts raucously heckle Southern senators who are in the process of trying to filibuster an antilynching bill. In the context of 1930s racial realities and politics, this is a courageous, provocative, and indeed radical theatrical script. And it is among a select group of manuscripts from the Negro Units of the Federal Theatre Project (FTP) that Kate Dossett explores in her engaging study Radical Black Theatre in the New Deal. These works, written and revised collaboratively between 1936 and 1939, served to radically challenge, satirize, and symbolically dismantle white supremacy. In Liberty Deferred, the Hartford Negro Unit drew from popular culture and the grotesque to powerfully parody “the carnivalesque atmosphere that accompanied the increasingly ritualistic nature of southern lynching in the early twentieth century” (112). That the FTP’s Negro Units—set up in twenty-three cities throughout the US as part of the WPA—generated new theater that confronted racial prejudice is not new information. These units are roundly considered by scholars to be among the FTP’s greatest accomplishments for the themes they engaged and the boost they provided to Black theater and talent. Although, oddly, no single book-length study has previously been dedicated to the history of the units alone. But Dossett’s is not a sweeping account or survey of this extraordinary undertaking; instead, assuming a degree of familiarity among her readers, she offers a close, rigorously researched examination of several “black performance communities” that coalesced around the Negro Units and produced what she deems radical theater. Beginning with “the premise that African Americans could be architects of a radical future in the middle decades of the twentieth century,” Dossett tells us, that radicalism should be seen “as a site of contest rather than a destination” (31). [End Page 99] Indeed, Dossett quickly establishes—and frequently reiterates—that her lens is focused as much on process as it is on product: the conversations and debates “about the representation of black life in the arts and the direction of radical black politics” out of which these dramas emerged (23). If these scripts succeeded in toppling traditional portrayals and narratives of blackness that audiences were used to seeing on stage, they did so because groups of Black writers, actors, and directors mobilized to write—and rewrite—their own stories and histories, often in conflict with white theater communities, and more broadly, with the New Deal machine. The script for Stevedore, for example, a play about dock workers in New Orleans written by two white playwrights and first staged in New York in 1934, underwent multiple revisions by Seattle’s Negro Unit before it returned to the stage in 1936. Most notably transformed was the final scene, which originally depicted white laborers “saving” the Black workers from a lynch mob who had accused the hero, though framed, of raping a white woman. When it was staged, the Black stevedores performed their resistance alone. As Dossett writes, “Envisioned by its authors and production company as a labor drama that foregrounded interracial unionism, African Americans exploited the self-making possibilities of the production process and became agents of their own liberation” (41). The same is true for the play Haiti, originally written by white journalist William Dubois. The Harlem’s Negro Unit scrubbed it of Dubois’s racist portrayal of the Haitian Revolution and created instead an homage to Toussaint Louverture that stunned and thrilled...

Culture-Specific Items in The Musical Theater Script “Linie 1: Das 7. Bild” By Volker Ludwig: Case Study in The “Kultur Und Übersetzung” ClassNest

As in linguistics or pragmatics, translation research requires suitable means to define and to analyze culture-specific items. However, it is not always easy to find these analytical means. This challenge arises because in language all elements are in fact culturally produced, starting with the language itself. Thus, exploring the culture-specific items in a translation work also involves examining the language used in the work. This study presents an overview of the phenomenon of translating culture-specific items in musical theater script from German into Indonesian by students of German Department of Cultural Sciences Faculty Universitas Padjadjaran in the class “Kultur und Übersetzung'' in the summer semester of 2021 (February – July 2021). Using a qualitative case study method on the musical theater script “Linie 1: Das siebte Bild'' by Volker Ludwig (1985) and its Indonesian translation, the universal culture-specific items according Kluckhohn (1953) that emerged in the musical theater script, namely language, knowledge system, technology and facility systems, arts, living systems, religious systems, social systems, and community organizations are analyzed. The culture-specific items identified by students were further interpreted using the theory of Aixelá (1996). The findings of this study indicate that the culture-specific items identified by the students in the source text are embodied in the text and they translate the elements with conservation strategy. The question of how far the results of the analysis can be generalized to a particular culture and whether the aesthetic elements of the text also play an important role in the translation process will be discussed further.

"¡A ver la comeria nueva / que la negla representa!": Villancicos de negros en la Bogotá virreinal

Abstract: Sung inside and beyond the confines of cathedrals during the principal religious celebrations, the musical-poetic genre of the villancico took on a special vibrancy in the viceregal city of Santafé (today, Bogotá, Colombia) from the later sixteenth century onward. The singers themselves not only played (sung) the roles of angels and shepherds, but also of others, often adapted from stock comic characters, such as the "Negro" or "Negra" (Black man or woman), found in the widely popular short comic dramas of the Spanish-speaking world. This article studies the manuscript evidence of how the villancicos composed, sung, and performed in the Bogotá Cathedral attest to the contribution of the "black voices" that were heard in this viceregal metropolis, to be embodied in these pieces. I provide transcriptions and analysis of the poems, and even theatrical scripts, found in the musical scores of a corpus of "villancicos de nacimiento" preserved in the Archive of Bogotá's Cathedral. In turn, these musical-poetic works open a window through which to better understand devotional and festive practices in a stratified colonial society and, in so doing, can give us also a picture of performance practices developed by largely unheralded and mostly anonymous Black performers of the territory of New Granada (which coincides with present-day Panamá, Colombia, Venezuela, and Ecuador), which was administered through the Viceroyalty of Peru until 1717.

Strange and familiar: robot love and artificial intelligence in science fiction theatre script writing: a response to the imminent Technological Singularity

ABSTRACT This article reflects on my process in script-writing responses to the threat of Artificial Superintelligence ending the Anthropocene. This point is often theoretically termed Technological Singularity, a hypothesised extinction point caused by uncontrolled and irreversible technological acceleration. While scholars debate the timing and existential effect of such Technological Singularity, my creative research positions human–robot relationships as the key to surviving super intelligent machines’ apocalyptic potential. This script-writing innovation into representations of Technological Singularity is based on research on intimate emotions between humans and technology, in particular within the fields of Lovotics and Affective Computing. Combining this research with the defamiliarising science fiction strategy of cognitive estrangement, I have produced a science fiction theatre script. Unlike the more common Terminator-style-scripted responses, my work significantly differs in its ‘Make Love, Not War’ positioning.

Usman Awang's Resistance to the Malay Humanity Facts in Uda and Dara Theatre Script

The Uda and Dara theatre script is based on the outcome of Usman Awang's observation on Malay society life, especially in the newly independent era. Since the beginning, they have taken the process to improve social development. The choices of language and determination of the characters used by Usman Awang reflect any ideas and strong critical thinking on Malay society, humanity facts that were colonized and defeated either by the real colonizers or the Malay elite themselves. Thus, it is believed that through Uda and Dara, Usman Awang fought for a social statement that was contrary to the noble values that were believed in, namely the Malays who developed social, cultural, economic, and political origins based on Islamic values. In accordance with the issue, this article focuses on the two problems. How Usman Awang's resistance to the Malay's social reality and how the Malay elite practised colonialization of fellow Malay's. The literary sociology approach and reading literary method was used to analyse Uda and Dara theatre scripts. This article shows that Usman Awang strongly criticizes the stratification or social status that only benefits the Malay elite. Through an unjust system of land tenure, the Malay elite maintained strong dominance over weaker societies. The main principal is Usman Awang was able to reveal the critical Malay's awareness to escape from the elites power who colonized them after independence from Western colonialists.

Interrupting practice traditions: using readers’ theatre to show the impact of a nationally mandated assessment task on initial teacher educators’ work

ABSTRACT The mandated introduction of a teaching performance assessment (TPA) into initial teacher education programs in Australia is one of the numerous and continual reforms that have impacted those who work in the field. The Assessment for Graduate Teaching (AfGT) is an approved TPA developed by a national consortium of higher education institutions to determine the ‘classroom readiness’ of graduating teachers. Surveys and focus group discussions were conducted with stakeholder groups to explore their experiences of trialling and implementing the AfGT. Initial teacher educators identified several aspects related to implementation that had impacted the ways they work, which included experiencing an increased workload. A semi-fictionalised narrative in the form of a readers’ theatre script was developed to weave initial teacher educators’ accounts together in an anonymised yet believable fashion for presentation at a research conference. The resultant script provides illustrations of the changing and complex nature of teacher educators’ work because of the introduction of the AfGT, and when considered through the theory of practice architectures, it becomes evident that practice traditions are also interrupted.