Adventures in Forum Theatre

Contents ^:rociuction

:Jventures in Forum Theatre, Anna Gifford 3cpressed and Oppressors, Augusto Boal

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-:-J _- -^ vL|g ^^ ',,Vorkshop Template

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\Aiorkshop Explanation Feedback Model Games Contracts

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I r: :rrng Bulgaria England Denmark Wales Estonia Serbia Porlugal Romania

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66 63 ao

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Ref lecting Epiphany - Serbia

Overcoming the Oppressive Joker - Macedonia The Sustainable Joker - Macedonia Contaminating Forum - ltaly Using Forum Theatre to Develop Emotional Literacy - Wales A Change of View - Wales Puppet Techniques in Forum Theatre - Bulgaria Addressing the Future Using Forum Theatre - France Forum Theatre in a Multi-Ethnic Community - Serbia

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Contact details

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Translations from the introduction

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Photographs with thanks to: Theatr Fforwm Cymru, Theatre Tsvete, VAT Teater, and Nemad Milosevic Johnson for Cedeum, Serbia

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ntrod u ctio n

- . r -: human beings, as a person and as part of the society, have developed a lot in the last decades. From this - :. hurnan development and the concept of personal development are very important. By this, one can under- ,:. I;1 of the human development rvhich is dealing with the quantitative and qualitative changes of a person '- - - :.r life. When speaking about qualitative changes, even if correlated with otherchanges, such as physical, -:

- -.: .rnd personality, lve refer to the ones reiated to attitude, structure and personal organization. Psycho-peda- - ::-:;its and surveys, as lvell as long term observations, state that lifelong human cievelopment can and must - -;:--endin_q line. A series of key-factors contribute to creating the psycho-socio-cultural context rvhich enables :

-.. ::i.elopment. The lvider the range of informational, educational and atrternative services for all population - :.:i rrttered by social systems, the better personal development and social development keep the ascending way.

- - rrte\t. at a European level, participatory arts have become valuable alternative methods lor lif'elong . : :tnd personal development. Participatory arts include a series of hybrid methods, such as Forum Theatre, : * r-rth in educati<lnal sciences and in theatre. Participatory arts, in particuliir -8eneral, and Forum Theatre as a r:k u ith emotional intelligence and promote a safe space where professionals - artists, pedagogues and social ' :-r - nreet people on equal bases to rvork together. Thus, the process is as important as the olltcome. Flexible and :::.' e. these methods can be applied successfully in the work rvith groups of individuals of various -:;onomic conditions and education levels, fiom young peopie confronted by violence or by the risk of social : :.,riization, to groups of immigrants/emigrants, fi'om persons r,vith special needs. adults faced lvith eclucation, :-,:ion. behaviour problems, to old people in speciai establishments. A major contribution to the clevelopment of -,ricipatory arts field belongs to the Brazilian director Augusto Boal, the founder of the Theatre of the Oppressed :-. Theatre represents an efficient rneans of intervention at a social, political, educational level, and, to a lesser .:. tt a psycho-therapeutic one. The method is based on the use of theatrical language in general, and on the aes- . .. :Dace and its gnoseologic properties in particular, with the purpose of stimulatir-rg the active intervention of the -:..:. rnd of lacilitating interactive reactions between the actors-in-role and the audience. The latter becomespec'l, ' t. united in the effort of exploring, analysing and reconsidering the problems of the group that they belong to, is , : .:irttted rvith. Used in more than 70 countries all over the world, Forum Theatre ntethod has entered Eastern Europe

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various international programmes and projects.

. . : ECU-Net Project was one of them. Most of the pafiners in the actual project met through the ECU-Net. It rvas .: . rr-r-\ ear project, inrtiated by Arttrain Foundation from Denmark and financed by the European Union through the ': ::th Programme.

It consisted of five Forum Theatre training sessions, and it involved more than 50 professionals ..::r:ts. facilitators, pedagogues, social workers) fiom non-governmental organizations rvorking and fbr young "vith -,* ilis at risk. The ECU-Net Project reunited participatory arts practitioners from Eastern European countries 3,..saria. Macedonia, Romania and Serbia, as rvell as from Western European countries - Denmark, France. En-sland, -::lrnd. Portugal and Wales. Taking into account that this method, as all participatory arts methods, is a practical one, ,:.e training sessions focused on enabling the participants with practical skills, techniques and r.vorking instruments.

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The courses rvere delivered by Theatr Fforr.vm Cymru, Wales and focused on fbur main themes: Fundamentals of Circle Work; Games and Exercises; Forum Theatre including Image Theatre and Legislative Theatre, and Further Elements of Training. To summarize, one may say that this training provided the participants with the tools they needed to find community solutions to community problems.

Considering that these experiences could be valuable for other (future) practitioners of the Forum Theatre method, CONCEPT Foundation, one of the two Romanian organizations which took part to the ECU-Net Project, initiated Forwn Theatre in Adult Education, as a Grundtvig 2 project, financed by the European Commission through the Socrates Agency. During the first year of the project, we became aware of the existence and activity of other organisations from Italy and Estonia, dealing with lifelong education through methods similar to Forum Theatre and they too became our partners. Two organsiations from Macedonia and Serbia also joined and they were financed by the European Cultural Foundation from Amsterdam. Eventually, the organizations worked together to contribute to this book, called Adventures in Forum Theatre. Last but not least, the purpose of this book is to bring together experiences of trainers and adult educators working in various communities in order to share their practices in Forum Theatre initiatives.

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Adventures in Forum Theatre

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- --:r.', ,,o\ s of the Theatre of the Oppressed is that its discovery by Augusto Boal and evolution over the last - -:: :is auspices is explained through a series of epiphanies. Most people who have received training in ' : - .-,ri:rive and powerftrl techniques that fall under this umbrella term (traditionally shortened to TO) r.vill -:: - . . - rne of these stories. These are stories of real experiences that changed Boal 's understanding of lvhat is

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..".. ihealre, and once heard also change ours. Vergilio's unfbrgettable refrain, 'So it is our blood, not yours

, . . .::ll tor the Motherland'; the lady in the amphitheatre audience, r'vho gets larger with every telling, and " : - , .:-.-tion 'Have a clear conversation and once he understands then you can forgive him', could only be

- : . ::rself: and the European angst rvhich though initially dumbfounded Boal led to further innovation, and

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branch of TO.

:rese stories Jokers, those who follow in Boal's path, are saved the necessity of learn ing those lessons But for every Joker there lies waiting an army of angels on the road to Damascus and those rvho have -: -,. .. .- sLrrne way rvill have their own unique and valuable epiphanies to share. In this handbook is a record of the .. :r: of Jokers fiom across Europe trained by Theatr Fforwm Cymru for a project called ECUnet. In sharin-g their - r : r.:-r.-iS. their mistakes and their triumphs as they deliver pre-structured TO workshops to a diversity of groups, : - ,:: ,rJd to our understanding of the art of Jokering and perhaps provide a practical guide to those rvho have - *: ,.:rted in TO workshops but have not yet had the conlidence to start Jokering themselves.

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is a very practical purpose to this handbook and that is to offer a 'painting by numbers' framework for nelvly Jokers. it is true that only by 'doing it' can someone really learn to Joker but the terror of taking that first step - --:. .:rd to many never taking it at all. It is rvith this in mind that we offer a step by step rvorkshop guide "Grounding" ...r,, ed by case studies frorn Jokers who try out the rvorkshop rvith all kinds of groups "Exploring". The Jokers who ' * . : ;ontributed to this handbook are all artists and educators rvith their own areas of expertise. It woulcl be remiss i irr uSe this opportunity to focus that expertise on the process of TO so also included is a collection of essays on TO :". :elation to specific areas of application and styles of theatre "Reflecting".

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:.it this handbook has come about at all is due to the amazing fraternity of skilled and highly motivated participants '- the ECUnet training and their willingness to share the often difficult lessons they have learnt through bravely taking :-.:t Step into Jokering. Where they rvill take TO is an exciting prospect which this handbook ends with "Reflecting" :rd w here the adventure really begins. Finally, with thanks to Augusto Boal for contributing the foilorving article.

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\nna Gifford

Oppressed and Oppressors This article is taken from Augusto Boal's new book "The Aesthetics of the Oppressed"

Oppressed and oppressors should not be naively confused with angels and devils. Neither one nor the other exist in a pure state' From the beginning of my work with the Theatre of the Oppressecl I have on many occasions been led to work rvith oppressors in the midst of the oppressed, and also r,vith some of the oppressed who were themselves oppressing others.

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working with peasants in Sicily, in the South of Italy, lve were preparing a play in which the Mayor of the city of Godrano was shown as a great oppressor of the poor. During the Forum Theatre show, the Mayor himself appearecl in the square and asked to take the place of, not the oppressed protagonist as is customary, but the character ofthe Mayor - i.e. himself - the better to justify his actions.

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The Mayor kner'v full rvell what he was doing; his hostile actions and right-wing arguments, on stage, merely reinforced the peasants'beliefs about him in real life. Since he knew rvhat he rvas doing and how he rvas doing it, this oppressor could not be changed, nor could he change himself, into something he neither was nor wanted to be; he was aware both of the wrong he was doing and the benefits he was drawing from it. Working with this man rvould have been a pointless waste of time, pure foolhardiness. Fighting against him, holvever, was indeed well worth the trouble..... . .and he was defeated in the next elections.

There is also the oppressor who knows what he is doing but defends himself saying that he has 'no other rvay out', in spite of not agreeing with what he does, he says he is obliged to do it. An example of this would be the poli".*un who shattered nty knee in a routine torture session, in 191 l, and asked my forg.iveness every time he turned on the electricity: 'I do beg your pardon, I have nothing against you personally, i have the greatest respect fbr you, a real artist - but this is my job, I have a wife and kids, I need the wages, I have to work and....you juit happened to turn up on my shift.....'

Nothing can be done with cynical people like tl-ris, just as nothing could be done with those low-ranki,g police officers in occupied Europe during the Second World War, who rounded up their victims and handed them over to the Gestapo, so that they could be killed in Nazi concentration camps. They too argued that they hacl families and needed their wages'....And, after all, the victims were only Jews, communists, gypsies and homosexuals.....of little importance.

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: : :.3 - the ridiculous apes of Pinochet and other bandits - cannot be let off r,vith the argument that they are - - - - . - : :ociety. since they rvere brought up in societies which also produced ethicai people. No society " ---i:

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we are all responsible for our acts.

- :.r:es I have heard the shameful argument that even 'Hitler wzrs not born a m()nster, it rvas society that

:-:.-rone'.Ithink,onthecontrary,thatweciinnotpretendnottoknowthatrvehavefieervill andthatrve - -.:.e ior the choices rve make, each of us, lvithin a concrete social and politrcal situation - a situation rvhich

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' -. ,id determinative, but not to the exclusion of all choice. The History of peoples and the Biography ot' -,: - r: not the',vork of Fate. We coustruct our lives, lives which are not r,vritten in the lines of our pahns, to be - _;.lsi -

. . - - :rant forgiveness and offer our amity to a person r'vho has chosen personal profit at the price of the - - - ' i)i of others, and decided to enjoy his or her own life at the cost of other people's deaths. Those rvho rvant to : - ;..:r\ one. ' to see both sides of the question', or 'to see the question from all sides, those lvho try to justify the -: . . r: l.ntionales for their actions - these are people lvho rvant to stop History. t

.-. :rre that everyone has their reasons, and that all these reasons are of equal rveight, then it lvould be better '. trrid stay as it is. We of the theatre of the oppressed, by contrast, want to transform the lvorld, we want it to - -:' :l',rays in the direction of a society lvithout oppression. That is what lve mean by 'humanising Humanity': lve .::rkind to stop being, as the poet Plautus put it, 'the rvolf of man'.

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.\ that all societies advance by means of conflicting structures: holv could rve, then, assume a position of t.tlntption tn the face of conflicts of rvhich, whether rve like it or not, we are part: we rvill always be allies of ::::ssed....or accomplices of the oppressors.

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Thealre of the Oppressed is already the resuit of an ethical choice, it zrlreacly means taking the side of the rrr:>:e d. To try to transform it into mere entertainment without consequences, would be to discxvlr it; to transf-orm it '. '.i eapon of oppression, would be to betray it.

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that the Joker in a Forum Theatre session, for instance, must maintain his or her neutrality and try not to

':- se his or her orvlr ideas, BUT. .. only o/ter having chosen his tecun! Jokers'neutrality is a responsible act and - .:. .ttier having made a choice; their substance is doubt, seed of all certainties; their end is discovery. not :

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simple examples, ancl I am sure that everyone will understand:

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in a conflict between David and Goliath, neutrality means taking the part of the oppressor, the if rve wanted to take the part of the oppressed David, rve would have to help him lind

giant Goliath; stones:

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lor those who are religious, I rvant to note that not even God, in the Last Judgement, rcmains

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neutral; he bases his judgement on

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Table of Values.

Following the divine example, even we, mere mortals with our days numbered, even we must have our Table of Ethical Values - we have to be clearly on the side of the oppressed and not on all sid,es, in the theatre as in one's life a citizen.

Using as our point of departure the clear taking of a stance in relation to the issue at hand, and only after having taken that stance, we will then be neutral in relation to all the oppressed participating in a TO session: rve have a duty to everyone and to try to understand the meaning(s) of all their interventions. To look at each situation from all sides, then. yes.

To work with the oppressed is a clear philosophical, political and social choice.

This choice can be constituted in an ideology, which is one of those umbrella words which can embrace a variety of meanings. According to the dictionaries, it can mean:

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of "x""T,::f:i,"f,T:*'*ffi:';#x",:ffi:ffi:Iii:'ffixxli"#i,11il,il,x11",:; norms and objectives predetermined independently of each concrete situation, generally attributed to the dogmas of a political party, sect or religion.

So we can see that the Theatre of the Oppressed has nothing to do with this last deflnition of the word icleology, which is the common usage, since we consciously distance ourselves from all political or religious dogmas. But equally we should never lack the conviction and determination of the second definition, so that we may fight, effectively, against the first.

IN the examples cited I spoke of antagonic oppressors, against which there was nothing to be done, other than fight: both their arsenal and their strength need to be destroyed, in order for the oppressed to liberate themselves. No argument can justify collaboration with enemies such as these.

This is not a topic I

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for theatre: it is a duty of citiz.enship!

There are some peopie who, either by culpable naivet6 or out of sad opportunism, use some scattered elements of the Arsenal of the Theatre of the Oppressed dissociated from its philosophy, and let themselves be contracted by commercial or industrial companies to work with their employees. The gravity of the error is not in being contracted

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.I Jo \ our own work, your own project with the groups of your own choice, but in not recognrsing that

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never permit in their premises - and still less, with their finance - the freedom of expression that "ri1l - -: . ::.: Oppressed demands and without which it r,vithers. If they pay for theatre work it is because they -' :: , 3 the productivity of their employees and staff, or to resolve problems to do with relationships, order -: -'.i.3-Iprcfits-whichisperfectlywithintheircompetitivelogic.Theypayfbrandbuyaserviceasif initwas . ' -' - '- - :nd any theatre practitioner who goes dorvn this road thereby transfbrms thenrselves into merchandise. .-.:ifr themselves,someaffirmthat,sincetheTheatreoftheOppressedwasfirstbornanddevelopedin " - '.-::r-tndustrialised countries in Latin America, an adaptation to 'more sophisticated societies'becomes ":

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which demonstrates congenital bad faith or voluntary myopia.

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,.: :rcieties are complex: the thing that can be sirnple-minded is the way people perceive thern. Some peopie --.,:.:ofseeing,feelingandunderstandingsubtletiesexistinginothercultures-cultureswhicharenottheir : :' :n in their own culture. And, if they do not see them, they state that they do not exist.

. -:i the evidence is staring them in the face, there are those who do not see that the rvorld is being more and '- - :r.nated by the Dogmas of the Market Economy the great God Market takes the place of all other gods ! Its -

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, ::: -> ior proflt. All over the world, the rich are getting richer and the poor are getting poorer. African countries, - .: :i br AIDS, are obliged to pay never-ending interest on their debts, even at the cost of greater slaughter. Profit

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l'.3tters. dividends: human lif'e is worth nothing, and the dead do not register on the accounts!

' -: i-:Je of the Market and of Profit rvhich, in the globalised rvorld, take the place of all the values called

' - ^ -: .:st'. u'e have to take a stance, which is philosophical, political and social - actionl We cannot float above the -- '. e live in. seeking to understand everyone's reasons cosmically and trying to justify ail, both those lvho exploit - .rse *'ho are exploited, masters and slaves.

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- .-,-iin-g of a theoretical position and our concrete actions should not arise from the fact that we are artists, but :-,:..:e \\'e are human beings. We may be vets, dentists, masons, philosophers, dancers, teachers, tbotball players, : rhters - but, whatever our prof-ession, we have the citizen's obligation to place ourselves on the sicle of the -

:r,-est and the injured.

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':e 1tt'lrlg beings: we need air, water, and land. The air is polluted by smoke, the r.vater contaminated by industrial -:'1.. ltnd the earth sunounded by barbed wire and walls. And so what are we to do....are we to say nothing? We are .;! beings: in the lvorld outside, bellicose countries armed to the teeth impose their will on others, they invacle, they '.ire - the Prince's Rationaie is his Powerl Night is falling on the r,vorld So what are rve to do......remain silent? r ":i

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5ipssls respect for those ar-tists who dedicate their lives exclusively to their art

::iition - but I prefer those who dedicate their art to life.

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The Theatre of the Oppressed rvas never an equidistant theatre rvhich rehsed to take sides - it is the theatre of struggie! lt is the theatre OF the oppressed, FOR the oppressed, ABOUT the oppressed and BY the oppressed, whether they be rvorkers, peasants, unemployed people. women, black people, young people, old people, people lvith mental or physical disabiiities - in the end, all those on r.vhom silence is imposed ancl from rvhorn is taken the right to a full existence. There are also non-antagonic oppressors, rvith r'vhom careful drzilogue is possible and also tlansformations

ol relationship. ln Santiago in Cirile, in 1914, invited by the French Consulate,l rvorked with Chilean rvorkers; ilmongst them, a person r,vho ',vas amongst the most combative in the stn-iggle against the dictiitorship, proposed a tiunily sceue in rvhich, unconscionsly, he shor,ved himself to be a dictator torvards his rvit-e and daughters. In politics. he rvas struggling against the dictatorship, and in his family, he rvas exercising dictatorial powers.

This r.vorker was unconscious of the oppressions that he rvas carrying out, since, fbr him, they rvere the only rvay he kner,v of 'being a good strict father', and a lvay he accepted. He rvas confusing the oppressive choices he was making

withthe/nctionofFather. Hewasasunawareofthemeaninsofwhathewasdoingastheprisonguardrvho,afier a Forum Theatre session on the violent behaviour of prison guards, con.rnentecl: - 'l did l]ot know I rvas a tortut'er: I thought that r,vhat I r,vas doing was 'educating the prisoners'.

Both guard and rvorker learnt something about ethics and. for sure. the1, changed their behaviour. They rvere unconscious oppressors and, in part, they stopped being so. It rvas rvorthrvhile rvorhing r.vith these people and could be transfbrmatory.

ln the Centre of flre Theatre of the Oppressed in Rio de Janeiro

r've have rvorked rvith men rvho beat

their lvives. The

shame that some f'elt, on seeing themselves on stage, rvas already the be-slnning of the path torvards possible

transfcrnration. Some rvould say this a small thing? Yes. tiny, but tlrc tlirectiort of'tlte jourtret' is rrtore irrtprtrtutrt than the size of tlrc steps.

We have rvorked lvith teachers who beat their pupils and fathers r'vho beat their chrldren: the theatricalisation of their oppressions shamed these oppressors and, for many, changed them. The Aesthetic Space is a magnifying minor rvhich reveals behaviours that are dissimulated. unconscious or hidden.

We must never be afraid or ashamed of working with people who perform functions or jobs ivhich offer the opportunity and the power to oppress * rve have to believe in ourselves and in the theatre.

But lve must take great care....and knolv how to choose our side.

Augusto Boal 2005

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. .. -,:signed to accompany the Template, are drawn from twelve years of Theiitr Ffbrwm Cymru - - ..::lude some illustrations taken from workshops delivered over that tinre. Because these events con:-: :ne details have been disguised in various ways and all names are fictitious but the points made are

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'...- r; :emplate can be used r,vith a variety of different groups of people. from elders to the very young and . :::Jitierentabilities.Alsothegroupcanvarytoquiteaclegreeinsize,horvever,someof thepossible r- ::i.-rrre a minimum number of people and the level of intimacy in the uroup r,vill be reduced if too many are .-...:suhyrvesuggestthesenumbersofparticrpants. Itis,ofcourse,perfectlypossibletoworkshoprvitha r",rr lrrocr group but then games and activities will have to be chosen that will function rvell rvith those

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- :o this. a Joker r,vill fiequentiy have to fit their workshop around the scheclule of an institution they are i i:h or the particular needs of individuals in the group. If it is a school, existing timetables or events may ri J.commodated, or r,vorkshops might need to be extended if the group needs extra time, because they need :' .:rirufld more slorvly or take frequent breaks for example.

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&sors, or many other possible ones, the Jokers may have to work in circumstances that are not ideal, and iLr make some compromises in order to accommodate the group's or an institution's needs. The key r.vord is r:.ause the rvorkshop will not succeed if too many compromises have to be made and it may be that Jokers .'. rlk arvay and not attempt it in such a case.

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..ifs ue should be wary about being 'set up to fail'because though we rray need to be flexible, if an institute or a - -t .: not prepared to be flexible also, it may lack the commitment needed for the project. In addition Jokers should - . .. ,1:iiinst being used as a lip-service project, r,vhere an institute or group wish it to appear as though they are , .-: :: \inq a problem but actually do not believe it is really important or that it is solvable by the peer group. If this is : -::ethentheneedsof theJokersindeliveringtheworkshoprvillnotbeimportanttothelnstitutionorthegroup " .: \\ ill therefore be much more difficult to create success.

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: .I,rker needs to keep a particularly careful eye on the timing of the workshop because the last stage, providing an rush. An exception to -:,rnunity fbr reflection, is essential for learning and therefore must be accommodated "vithout ould be group if the workshop was part was a r.vould '. "i that have subsequent meetin-es. of a series and this 13

Individuals can do their own reflection, and do so with varying degrees of enthusiasm but reflection in and with the whole group, as a community rather than an individual event has its own special quality. Frequently this work is not only to do with raising the level of an individual's Emotional Intelligence but also the collective E.I. of a whole group and so prioritising the time for group learning is important. It can also be accompanied by instant peer feedback and insights into how other people reflect and learn. Much more is learned by each individual than if they only reflect alone and do not share their reflections with others.

The workshop can be a stand-alone project purely for the beneflt of the participants. However this work is Theatre of the Oppressed, which name implies not only a performance, but that issues should be tackled. Both of these objectives can be met, to a degree, in the workshop but on a smaller scale than if the group take their work as a forum theatre performance to an audience. Therefore you should assume our encouragement for the third session, which would be to bring together a suitable audience to see and participate in the theatre.

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There are extra difficulties in this process as the Joker lvill have to support the workshop participants in 'public' performance, frequently not an easy thing even for professionally experienced actors. They will also have to facilitate for an audience that they have not formed an intimate bond with and take care of any specactors who are brave enough to participate. There may also be the transport of the cast if there are vulnerable people in it and various other logistics.

It is a complicated job to take on but the experience of parlicipating in such satisfying and empowering of all to the workshop participants.

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a performance can prove the most 'u

Workshop Template For between 15 - 25 participants

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is designed in two sessions, which can take place on a single day or on two days whichever is most There is also an optional third session, which it would be helpful if you can complete but which is not cssmtial. Jokers should create a timetable of working sessions and breaks, which are suitable for the group. dvised to keep a close eye on the time as the closing stages of the workshop are very important and enough be left for them.

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fbfre Lcide is the beginning of the process when participants and Jokers get to know each other and when Jokers can rp-. safe space in which the group can develop a sense of equality and trust. The Jokers should choose a subject bt first circle that is suitable for the group and one which will provide an opportunity for the group members to fue mething, however superflcial, of themselves. . .

Introduction Circle

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Jokers should choose games that are suitable to the needs and abilities of the group. Include:

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loters should remember to provide plenty of giggles during this section.

The Contract Tlre contract can be made in small groups which then feeds back to the whole group, or it can be made in the circle.

Jokers should choose which ever is most appropriate to that group. The Jokers should choose the right time for

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creating the contract. Some Jokers may want to do this after one or two games have been played and some may prei:: to do it at the end of the games section. However, it is recommended to play some games before creating the contrac:

lmage Theatre The Joker should choose the image subjects carefully so that they are appropriate for the gror:p ancl the aim of the

workshop.

Individual images Images in pairs Group images The Joker should lead both objective and subjective analysis of images.

lmportant Note This is the end of session one and if it is to be a one day rvorkshop the Jokers can close the morning session with a game and have a lunch break. If it is to be a two day workshop, the Joker should close with a game and a brief circle so that participants can share their feelings about the day. If the Jokers have chosen to run a two day workshop they should go back to the beginning of Session I and start the second day rvith a circle and at least one game. Jokers rvho are running the sessions as a one day workshop should just continue after lunch.

Forum Theatre

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Explaining forum theatre

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Demonstrate a Blank forum. This is a piece of lightning forum theatre that does not contain an overt story, only the emotional situation between the characters. The Joker invites the auclience to supply their interpretation of the characters, where they are and what their desires and oppressions are in that situation. The three chairs with their three refusals to the protagonist "Sorry we're closed." are an example and can be interpreted by the audience in many different ways. When the audience has decided what the situation is, joker the piece to demonstrate how spectacting works.

2. Explain what is needed to make a forum

. '

piece work well

Story must be clear.

Story must be realistic, otherlvise the audience will not believe in it and will see it just as a piece of fantasy theatre for them to watch.

Audience must feel sympathy for the protagonist, or no one will care about them enough to be ' moved to spectact.

16

'

(:

There must be something that the protagonist could do to alleviate the oppression. (This is not

.::arre of the Depressed)

'

Story should just show the problem not the solution. The audience . -- lutions.

will discover their own

:. :.:i int oppressions can be done in a circle. The group divides into 4/5 small - -:. rrDression group they lvant to work with.

gror"rps each person

, . -::r preparation: Small group members share their personal experience o1'the oppression and then the -:, ::d rehearses a forum theatre piece of not longer than 10 minutes. The fbrum piece can be either one

-

.-. r- a svnthesis of several stories. Stories can only be turned into theatre with the permission of the :, j :he story. .

::..im shorving: Al1the pieces are shown and then the whole group decide r,vhich story they want to forum. :,lne in various ways but democracy is best.

-

:-

rrum jokering

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--:Jie to get feedback, check that participants al'e OK and assess whether there are any consequences of ::.: ir orkshop that need to be addressed. Finish with a last game.

ie rs rvil1 find it possible to take the results of the workshop to an audience and perform and joker it in front :.: rvho have not participated in a workshop. This is not possible in all cases so this session is an option Jokers

-,

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:

-

1. Identify the right audience. The audience should be appropriate for the level of confidence of the =rins -qroup, and should be able to understand both subject matter and material in the forum.

l.

Preparation of the environment both social and physical.

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The performance should be preceded by negotiations with any authorities involved, so tl-lat everyone understands what is going to happen and what the group presenting the piece will be able to cope with.

17

'

The venue should be suitable for the needs ofthe audience and the players, and for achier.ir: the objects of the piece of forum theatre.

4.

Performance

5. Foruming 6. Feedback. There are a variety of ways of collecting feedback. Choose the most appropriate to the audienc; and the group, or the one which will provide information that you are particularly interested in.

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Workshop Explanations

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--. :.::rents of the workshop are circles and this fbrn-ration, instinctive as it is amongst a group of ::. '.,. :'' of ri,orking. In the hands of an aware Joker it rvill demonstrate equality, informality, and .-- :rcourage dialogue and the development of a trusting community. However it should be : , . - :i :he circle is not only instinctive but is also a very powerful and atl-ecting tool. Jokers need to show :, -:le become so moved by the experience that they expose themselves more than either they or the :;.L - -: , ..1.11,

: '- : - .'.:s Jokering, after initially being unable even to say his name because of the tren,bling his anxiety , - l-i::,:. at a later stage in the workshop told the whole group about his problem with illiteracy. The people : ' - : '' :r. \'ery supportive and tactful about this and Mark reported that he f'elt emporvered rather than upset at "

. -.:- !:.i.

Horvever it r.vas a complete surprise that this story was volunteered as it

r,vas

unrelated to the lvork

. - -:._l on at the time. Mark just felt that he could share this information, potentially very emban assing in our : -:,:*Se of the porver of the circle. One extra piece of infbrmation about that circle is that the entire meeting . : - rire and a half hours rvhich demonstrates that the circle is not only polverful but can work really fast as ,:--:riofthecirclethatmakesitsousefulforthervorkshopisthatjustbygivingeachpersonanopportunityto , -: :rn herself, you are encouraging a process of personal awareness. If asked to speak in the circle saying only --:': ,rnd hotv you're f'eeling, a person has to evaluate horv they are f'eeling and then choose r.vhether to share the

-

. ::ts evaluation rvith the others. They may even be choosing r,vhat nar.ne to be knor,vn by. ' : ^rc1e is also a supremely useful diagnostic tool for the Joker. Does the group sholv each other any respect? : .ri level of overt confidence of the participants? Who plays the role of bolcl person and who the role of shy in !' '.l L\re there any in the circle r,vho r,vill need particular care and are there any r.vho rvill be particularly :-::rgl Who is the comedian, who the helper, r,vho the peace-maker, who the enthusiast? Does anyone r,vish they - " :here? The answers to all these questions and many more can be picked up from the first circle.

-

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"

-::-3S ,-:ctions of games in the ivorkshop are varied. Some people need to be rvoken up, some to be calmed ciown.

19

Sometimes, something that causes people to place their attention on the rvhole group is necessary ancl sometimes something that helps them to turn completely inrvard. Strong partnerships can be formed or broken up, people can be mixed up or grouped, friendships can be encourased and enrnities can be challenged. Tension ctrn be broken ancl people rvho are i'eeling sad can be cheered up rvith laughter. Name games have the obvious practical function of

\:

helping people to learn each other's names but they can also off'er welcome recosnition to shyer participants if peopie do remember them.

1

.

Suitable games can be found in 'Gatne.s .fbr Actors and lVon-Actors'by Augusto Boal

The Contract We regard the creation of the group contract that rvill help to guide the quality of the participants' experience in the r.vorkshop with great seriousness. This is not to say that rve don't expect some laughter as the process rs happening but that it is done and done r,vell is very important.

Contracts are made in order to make both individual ;rnd group boundaries clear. They should give everyone a chance to say what behaviour is tolerable to them and what is not. They shor,rld give everyone a chance to say lvhat special needs they have, rvhat they are prepared to give and what they r,vant from the group. The group contract shoulcl help to generate the safety that participants will need to feel, if they are going to be able to do rvork about their olvn and other people's emotions.

There are many diffbrent ways of generating contracts. It can be done through small group rvork, plenary r,vork, individual statements and experimental techniques. At the moment we are experimenting with clarifying the emotional needs element of the contrzrct through image theatre. Even with groups rvho have clone no analysecl image theatre this technique works and. by starting lvith the feelings of paricipants we can o[ten avoicl getting boggeci dorvn by the detail of domestic arrangements. With a group r,vhose raison d'etre is goocl relationships ancl happy productivity the ciiscussion of people's feelings should come before horv many coff'ee breaks to take.

4

One group r,vith r,vhom l tried this technique produced an image of trvo people stancling face-to-face very close to each other, one person intimidating and one being intirnidated. This image after discussion procluced four elements of the

contract.

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!

The group rvill try to be sensitive to the neecls of each individual.

Everybody is allolved to say rvhen or if tiiey are unhappy or uncomfbrtable with the rvords or actions of another member of the group. (ldeally lvithin the circle)

.

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phvsical and emotional boundaries

Because the group discussed the f'eelings that they saw in the image first ancl relatecl them very strongly to tlieniselves and what each of them r,vanted or didn't want to feel personally, they were quite anaiytical and sensitive in their

20

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other times, have offered rvords like 'Respect' ibr the contract and in theoly that should be :he _croup ckx't seem to have unclerstood exactly rvhat tire rvorcl means. Nor, frequently, do they ;l trlre respect is a tr'vo way process ancl includes everyone in the contract.

. :

..i,ll- theatre can be for-rnd in Augusto Boal's books, particularly effectively in 'Rainboiv of Desires' . :>r sources to go to. Hor,vever it may be helpful to include some of our Lrses fbr trnd f'eelings about

, :::ice Theatre to be a particularly porverful and personally engaging tool, curiously 1or some theatri'.' :--r.l croups, very liberating and yet for others challenging. Whether it is ii libcrating or challenging . - . rrlt1. some relationship to the average age of the group. People during their teenage years ofien find ,. :hc audience to examine the ima,qe very

difficult. They can find it hard to stand still, embarrassing to on the image silently. Pcopie experienced in theatrical . ;r"rtever age, can usually cope fine r.r,ith image, but the buik of Theatr Ffbllvm Cymru's r.vork is lvith :: iiteatre or drama r,vould not be the first choice fbr self'-expressir.ln. In fact, it lvould hal'e been the very i ,nre ol the people we have made fbrum theatre r,vith.

. .

-- iiiticuit to hear people's comments

. r '. ,'hildren do not appear to have such a degree of self-consciousness rvith irnage and are er-rthusiasticarlly '-: -.:ntl\' using the opportunity to send rnessages of defiance or need that they would probably find ditflcult -

.:

.: .un

also be very revealitrg. Aperf'ect example of revelations that surprised us lrom Irnase Theatt'e carre an anti-bullying r.vortshop for a large urban secondary school. This schooi tv;rs located in . ':' onc of the hardest housing developments in the city and had the replltatiorr clf having problems to match : JieA. We arrived ernd rvere sho.'vn to lhe school hall, rvhich r,vas the only space large enclugh tcr --,i: the rvorkshop. and discovered a throng of flfly to sixty 11 to 12 year o1ds. The circle, even though it ivas , . tr-fSofl'S name and 'feelings on a scale of I to [0', number took some time and the were very -uames r the grollp. This r,vas partly because they had an opportunity to run around iind get excited in the school hali - ,. recause after all that sitting and listening they really needed to run around.

-:'- r)n image theatre in a rvay we were very accustomed to, with single images and r.vere quite surprised by :t sc to the word 'school'. Because of the reputation of the school and the area it r,vas in, 'uve had intagined : i rtiqht be a great deal of negativity in the children's images of school but rve rvere confounded by r.vhat rve ., huse circle all around us were children rvorking, reading, painting, playing, talking animatedly and generally - :chool. We r'vere quite confused but other images explained more of this initial one. The words thtrt dretv the :aling in-rages subsequent to this rvere 'mother'iind 'father'. Once ugain rve wele surlouuded by chilcilen's ' ,:rd these told us exactly rvhy they liked school so much. There were parents enough rvho rvere ignorinu, ' :tr. denying, shouting and linser wagging to explain rvhy school seemed such a happy haven. There rvere some

-..

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::'- provrding

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21

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- --. For example the Joker may have his/her orvn perfrormance anxiety about r.vorking rvith the group - ' :' -er el of experience. Some groups may be more challenging --c

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to an indivicluiil than others alcl the , . :dge how technical they should make their explanations oepending on lhe age or sophistication of r i'rrking rvith.

-.

-: :hc *''orkshop, the Joker will have to make judgement after judgement about content and timing, - :i participants don't understand, and about horv to react if participants become distressed.

But fbr t: !r! \\ rrtlL Ilits s3n" ' - "-' gone o1role Derore ln in fhe the workshop, there will be twice twlce as many rvhen you actuaily actually reach the ': ""-: :- Yf f"t --- i'g':t :i'rSe \4y experience is that, tllar' even 1r ^!r] s if you are wollflng Ptrrrtrrruc IS working alone, it is possible

to demonstrate a blank forur forum participants. However if you <1o that you musr choose very carefr-rlty you --- -"'J rvhom " """.

J\ - - :leke sure that the blank forum is age and experience appropriate. If afier you hare sho,uvn the blank ' - - r-ie to move on and demonstrate how forum works using the blank forum piece, you must remember : SliiSe' cast members or spectactors, knows r.vhat they are doing yet ancl so yolr are responsible fbr ' -.'-le thing' It is such an excellent way to explain hor'v fbrum theatre r,vorks ho'nvever, that it is usually

t.:;,:11.::1,]l:1!1r,l

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:: needs to expiain t:.i:.Tl:

to the group what qr"ralities a model (piece of fbrum theatre) needs so that an audience . rs i: ,n:.ou,licipation .rtr parucrparlon or of tne the audrence auclience that rs is the raison d'etre d'erre of the piece. lt tr ir is not ], :ristence :1b".l,ut" for art's sake but fbr the utility it offers and it wili not be useful if the audience cioes not ' - : :eiate to, or care about the characters in it. lt is also no use if the characters have no choices to make of - : -' or unhelpful actions, because then the audience won't have any choices ' -:itton comes action, in this case the action of sharing stories of oppression,either. lvhich may or may not come -' -: rll they are stories of failure not success and people can be quite choosy about r.vhom they share their : "i Some groups we work with shzrre an intimacy blcause of their history r.vith each other, some groups ' -. ' - -.' hal'e history in cotnmon do not trust each other, and some groups, because of their common history. have : "i of mutual trust for each other. Some groups are made up of people r.vho are strangers to each other, so . .1:r r [s be artificially created.

'':'s

main purpose rvith the workshop, up to this point, willhave been to create a group f'eeling and genuine '' ::rlt $'ili allow this sharing of vulnerabilities to happen safely. Sharing your oppression other people is ' - :re s sad feelings on show, offering them for irspe"tion by others ancl, to do that, each ofwith us neecls to trr.rst that : :'e $'e sholv them to will not then take advantage. The Joker should be brave enough in --

'

this to offer arr him/herself vulnerable tl"rrough their own honesty. Horvever the Joker neecls to choose - u hat demonstration they need to ofl-er of their olvn lviilingness to be honest as the Joker ancl his or her story "' locus 'of or reason fbr the workshop. The workshop will not be successful if it is hijacked by iil judged - . rns from the Joker nor will it work so well if the Joker remains completely aloof. There is a delicate

: I :o others by making

:: '' -en honesty and discretion that each Joker must practice and peri'ect fbr themselves.

balancing

::ories have briefly been shared rvith the whole group the Joker can invite people to choose lvhich they would ' 't ork on' A simple way of doing this is if each p.rro, rvho has offered a story occupies a clifl'erent part of the ':td people are invited to go and join the one rvhose story or theme they are interestecl in. tsut there zrre always

23

complications. Trvo people may have offered stories that have strong elements in common in which case they coulc a st amalgarnated. There may be too many stories to work on or there may not be many. Someone may have offered that no-one else is interested in. There are all sorts of decisions and negotiations that the joker may have to make arrJ would be useful to reflect on the results of these afterwards.

The Joker should move between the groups encouraging them in their creation of theatre, helping them to create a It t$ model that the group r,vill be able to forum and checking out that people are not becoming too distressed to work. able to good to encourage the use of humour and a light touch in creating forum theatre, as the audience needs to be ,here seduce,{ or tragedy by too traumatised not be and and norv'. They can then keep thinking objectively, ,tuy in the by the drama. the models to When all the rnodels are prepared they can be shown. The group may have to select only one or two of forum and in to piece/s which forum because of time constraints. In this case use some form of democracy to decide and gather what order. When the decisions are reached the rest of the group become the'spectators and or spectactors

round to first watch and then forum the piece. moving, Then what does the joker do? His/her responsibilities include; keeping people focused, keeping things keeping things interesting, facilitating when things get too difflcult, anci difficultating r,vhen things get too easy.

The purpose of any torum theatre model is to enable people to find solutions to problems and break the oppressions that are sholvn, therefore Jokers need to be alert to what is going on in the audience. Miss no opportunity to ailow the Each spectators to interact with the enactors, looking ancl listening for signs and hints that they have something to say. thel solution a have but get stage on Joker will come up with their own ways of enabling people if they are too shy to with the need rvould like to try out. The Joker should be careful that the enactors balance the oppression they offer not to publicly destroy any hopeful spectactor who comes onto the stage. The spectactor should be offered resistance of so thaithey can feel a triumptr when they overcome it, but not so much that they are overwheln-red. This balance in experienced oppressing, but not too much, needs to be emphasised to the enactors particularly if they are not very

forum theatre themselves.

When the forums have been created and are enacted by people, who are not only inexperienced in fbrum theatre but also in the medium of <irama. then the Joker needs to have an eye on the cast also. Trained actors seldom mind playing villains but ordinary people very often dislike both oppressing their peers and the repeated defeats that the oppressor receives if the forum is going r,vell. Trained actors are adept at dividing themselves from their role but ordinary people lvho are participating in a fbrum theatre performance, particularly when it concerns issues in their own lives, usually find this trick more difficult. The Joker will therefore have to take great care of the workshop members, in particular those who are playing the villains, thanking them in front of the audience for making the showing of the oppression possible.

24

-

.rre\\'e1l that the group makes to itself. They may be saying goodbye to people they r.von't see .,. r.rt they, have shared, or they may be cementing the bond that they will neecl in order to carry :: .,\ a\ the circle fbrmation wili bring everyone in the group close together again having been .,. orkin_s units to create a symmetry rvith the start of the day. The Joker can ttse the : rple have responded to the day, to evaluate the work and to make any necessary plans. If the :1e ntay f'eel quite close to eacl-r other in the final circle, it can f'eel like the end of a piuty and can :,-.kel should have an activity they can otfer at the end in case the atmosphere needs to be made iiind they may judge that the atmosphere is absolutely fine as it is.

,:

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tri

Joker/s is to lind and negotiate the conditions for an audience. The ntodel shoLrld be relevtrnt to

- - ;-::fe . If the people in the audience are too resistant to participative lvays of r.vorking or dismissive of : _l:.oup rvish to present, then the forum rvill not be successful and it rvill not be the fault of the group : : r r.ri them in front of that audience. . - - : jitions fbr the perfbrmance, acoustics, comfort, lighting, peacefulness etc need to be suitable anci, as -, --.rr u reck a good peirformance, they are impofiant.

-

.

.

'

'

*.. ::iso need to deal with the feelings of the cast, their performance anxiety, relationships rvith each other, :: .-.rnfidence or events in their lives outside the group. You may even have to deal rvith the complete - :-.3 of your cast and think very creatively about horv to cope wrth this.

:.

-

ruln starts the Joker rvill have to lvarm the audience up r,vith a garne. an rctivity o[ some questions. ',\. r11 encourage them towards participation. They also need to explain to the audience lvhat is going to - -:: lhev can and can't do and how they can take part in the piece.

- -..

-a: does the Joker do? c

,li'lc

i :lrr .r.: I

l!]il

'j

..lies in the Forum Theatre section from above, are relevant also during performance. In the rvorkshop .:.: Joker takes care of the participants who are enacting a piece and the participants who become . out of the audience formed by the other rvorkshop participants. In per{brmance the Joker similarly takes ^.

'-ast and any spectactors who come from the audience and facilitates the progress of the event. The Joker .-.-1\ e to keep the time and sense when the foruming should end because everything that can be done has been - :3!-ltuse you have run out of time. The Joker needs to provide a finale to the piece either the last round of '-. :he last thanks or acknor'vledgement or choosing the last word may be theirs or someone else's.

"vhich

25

26

Feedback Model for the Workshops

- ,-x : -, - *,; be used for guidance and to create a minimum level of feedback and evaluation. Jokers are advised fr ulrflrr-:,:-r:-rassoonaspossibleaftertheworkshophasfinished,holveveritcansometimesbeinterestingto H - .:'- r - :.-,und of feedback after some thinking time has passed.

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,

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::s about the Joker/s including their forum theatre experience and any other relevant details or

-:

: -:jue of the organisation you work with and the name of the organisation the group belongs to. Include : :.iticipants and gender. Briefly describe the group you are working with. lnclude age range and any

:-

the

- - -. -:sues that the group may have in common. Also describe how much fbrum theatre experience the : --:s hat'e.

"

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1

" - : \ ou choose as subject fbr the opening circle and why did you make this choice? How did the group react to " -- : .rnd the introduction?

.

-'

-

_:lmes did you choose to play in categories ,1,2,3 and 4, why did you make this choice and horv did the group :he games?

l:rtract -. rrocess did you use to create the contract and why did you choose this process? At what point during the ,..hop did you make the contract and why did you choose this time?

27

What was the result of the contract? Did the participants obey ask for

Did they mention it during the workshop? Did

it to be changed?

lmage Theatre What image in each category 1,2 and 3 did you ask the group to make and why did you choose those images?

How did the group react to the image theatre? What observations do you have as a facilitator about leading the analysis?

Session 11 Forum Theatre Describe the decisions you had to make at each numbered stage 1. 2. 3. 4.5. and proceed in this way and briefly what the result was for you and for the group.

6. Describe why you chose to

Closing Circle What feedback did the group members give, either spoken or with their behaviour about the workshop? You may include written feedback from the group if you wish.

General Notes

o o o o

What do you think worked well?

What do you think didn't work well?

What have you learned?

How do you feel?

Optional Session Performance

111

This section contains notes that you can use to guide the performance feedback.

What did you say and do to prepare the group to work with an audience. How did you choose your audience and why?

28

" '

Describe any negotiating you had to do, what,

if any difficulties

you had to overcome and

:. ':. qlu oyercame them. Describe the choices you made in preparing the venue and why.

"

Hou, did the performance go? From the group's point of view, from the audience's point of lrom your point of view?

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. :

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What part did you take in the foruming? What part did the group take in the foruming? What did the audience take in the foruming?

Include any form offeedback you wish.

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29

Games

It is best to buy Games for Actors and Non Actors by Augusto Boal, if you want the best directory of games and a "how to do it" book of Forum Theatre, however the following games from Theatr Fforwm Cymru have been code; according to the following criteria: Warning Code: Level of physically challenge - # Degree of body contact - !

Degree of emotional challenge - @ # This is a gentle exercise that won't get people out of breath or challenge them too much. # # This is a gentle exercise but it can involve some moving around at faster than the usual walkins pace. !tLa

# # # fhis is a moderately physical exercise that may involve some running. # # # # This is a vigorous exercise that definitely involves running.

! This activity does not involve touching anyone. !! This will involve holding hands with one or fwo people. !l! This involves touching people on other parts of the body. ! ! ! ! This involves touching people with other parls of your body than your hands. !!l!! This involves full on, unpredictable, moving body contact. @ This involves almost no emotional challenge @@This involves an activity that could possibly have a small degree of emotional challenge. @@@ This involves an activity that could possibly have a moderate degree of emotional chailenge. @@@@ This involves an activity that could be very emotionally challenging.

Run Arounds

# # # ll @ Cat and Mouse The group get into groups of three with two people left over. The threes link arms and dot themselves around the space' The two are the cat and mouse and play a galne of tag around the stationary threes. When the mouse gets tired he can link onto one of the threes and then the person at the other end of the three becomes the new mouse and the cat chases them.

30

If the cat catches

the mouse they swap roles.

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3'a,,eheart and Dr. Freeze as Dr Freeze and leaves the room. The rest of the group choose one of their : :, , :ieart. Then Dr Freeze comes back into the room and a game of tag takes place. If Dr Freeze tags - *s- :reeze and can only unfreeze and rejoin the garne if Braveheart tags thern afterwards.

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' . : :roup is chosen

I ;, ; :,es wizards and giants /Y.P. Police & Y.W. * , -- :::ri played in the same way as scissors, paper, stone. The group splits into two teams and each team rrfl' : - -:: hether they will be giants, wizards or elves. The two teams then face each other along a central line rtllttr(' -- -::.J simultaneously do the gesture and sound effect that indicates their choice. The whole group will ;rl " ':reed the meaning of these. Which ever team has lost then tums to run back to their 'home'before LL ' : -r:ed' by the team that has won. The object of the winning team is to tag as many of the losers as 'rl ,:: toin their team.

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Sound effect for Giants is arms up and roar, for Wizards is hand in front with spread fingers and a een the teeth and for Elves is crouching down with nipping fingers and squeaky noises.

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is Giants beat Wizards Wizards beat Elves Elves beat Giants .: :rnv other three kinds of people with power relationships that the group agrees. We had fun with Youth - : People and Police and enjoyed working out the symbols and sound effects for them.

.

-:::.:rS and Parents ...: -{mbulance

_ -

i

-

-:s and Technicians

, l:-o and Shield - : --', es around the space randomly and continually.

The leader asks them to choose, giving no indication ' . :i. tu'o people in the room. One of these is to be their'bomb'and the other their'shield'. Then the whole -''.: j to move around keeping their 'shield'between them and their 'bornb.'After a few minutes the leader : - - i '.', hich is the signal that all the bombs have gone off and asks how many people have managed to not be -: ::' keeping their shield them and their bomb. No-one is allowed to actually touch their 'shield' but * i :.lr own bodies to keepbetween them in place.

-

"

-.

;

- -:

Birlhday line-up ::e asked to form a line running from Jan. l" to Dec. 31" in the exact order of their birthdays in the year

"":::kingATALL.

31

# !!! @@@ Vampires This is another 'blind'game. Everyone covers their elbows with their hands, closes their eyes and walks here and there very carefully and slowly so that no one gets hurt. The leader squeezes someone very gently on the back of the neck and this turns them into a vampire. They then put their hands out in front of them, softly not stiffly, and keeping their eyes closed go looking for victims. When they find someone they feel their way to the back of the person's neck and squeeze them gently and that creates a new vampire. Whenever someone is turned into a vampire they give a ghastly scream. The vampires move around the space looking for more victims but if they meet another vampire and squeeze their neck by accident then the vampire becomes human again and as they fold their anns once more give a groan of orgiastic delight.

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Pairs Work

# ll

@ Blind Handshake Each pair adopt the pose of shaking hands with each other and freeze. Each person then closes their eyes and with their hand still frozen walks backwards for five paces. They keep their eyes closed, walk fotward five paces and see their hands reconnect. This can be expanded to ten paces or twenty paces. @

#l@@@

1-2-Pop

The group works in pairs. First the pairs are asked to count to three alternately and repeatedly. Then they are asked to substitute a sound and movement for I and incorporate it into their counting. Then another sound and movement

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Ir

for two and then another for three. You can extend this to any uneven number and ask for words or phrases instead of sounds and movements. Small repeating scenes can be built up and when suitable can be used as a catalyst for discussing repeating pattems in relationships.

!eir trd

# # !!l!! @@@@ Loving Touches

Ithere

bttv

Fr Iof

Each person chooses and rehearses a sequence ofabout 7 'LovingTouches' on their partner. Ernphasise that these should be non-threatening and comfortable for both partners and distributed from the crown to the toes and all round the body.

The partners are given sufficient chances to rehearse the touches singly so that they become a familiar routine.

The partners are then asked to perform their touches on their partners simultaneously. Emphasise that they should keep c'ring to do their touches and disregard what their partners are trying to do.

Then the group can be asked to swap partners, do it to different kinds of music, etc.

Then the group can be asked to work in threes performing their touches on whatever body presents itself to them.

Then the groups can get larger flnishing with the whole group if desired. This usually turns into a sort of writhing plate c: spaghetti.

C"rrcles

*:1 @@@ Yurt/Star Circte

lie

group which must be of an even number are labelled I 2 | 2- ete right round the circle. The people hold u:rds and stretch out so the circle is as big as possible. Holding hands firmly first the 1s lean out and the 2s lean into ::e circle then stand up and reverse the lean. This must be done slowly and carefully and all at the same time. The .r.lup must be wamed to be aware of the balance.

-

s : @@ 3 Times Name Game T:e eroup is arranged in a standing circle with one person in the middle. In order to get out of the middle they have sa]'the name of any other person in the circle three times before that person can say their own name once. If the "'c in the middle wins then they swap places with the person they have beaten. @@@ Three Amigos } group is arranged in a standing circle. An imaginary ball of energy is passed round the circle by miming the Ius$mg and yelling Yeehah!! as you do it. The direction of the ball can be reversed by miming pulling back on reins, c saf ing Whoa back! The ball can also be 'thrown'across the circle by pointing at one of the other players and i':rg 'The Three Amigos!!!'. The person pointed at and the two people on either side of them then give a spirited :cltton of the Mexican hat dance on air guitars. The person in the middle of the three amigos can then yeehah the * left or right to continue the game.

'- @@@ Glass Cobra râ&#x201A;Ź group stands in a circle holding hands. Each person chooses a quiet noise they can make fairly continually and

33

teaches 'their'noise to the people on either side of them and learns theirs. They then feel and remember the hands they are holding. Tiren everyone closes their eyes, covers their elbows with their hands and walks very carefully round the space. When they are thoroughly mixed up the leader gives a signal and everyone starts making their noise and listening for the noises of the two people on either side of them. The object is to link r,rp again in exactly the same order. When yori find one of 'your'people you check frorn their hand that it is thern and continue to make your noise so the person on the other side can find you. People are only allowed to open their eyes when they are holding two hands again.

lmprovisation Games

# | @@ @ Action in a Mood Someone chooses a simple action and stafis to mime it. The group then offers moods that tire actiot't can be carried out in. The leader then instructs the person who offered the mime to do the action in one of the moods the group has offered. Let each person who wants to do it try about 3 different moods.

##|

@

@@ The Story Tellers and the Puppet

Two people tell a story taking turns. The person playing the puppet simultaneously acts out their story. When the puppet has finished doing what the first person has said s/he turns to the other and says, 'And then what happened?' and the other story-teller continues the story.

# | @@@ West Side Story The group divides into two and the two groups line up opposite each other. A person from the end of one of the lines comes forward and stands in front of and in the centre of their own line. This person starts to make a rhythrnic sound and movement and as their group learns it they join in. When everyone is doing it in unison the leader of that group starts to move forward as they do it. The opposite group falls back as they advance. After six movements the forward moving grolrp stops. Their leader falls back to the other end of their line and a person from the other group comes forward. They make another rhythmic sound and movement, their group joins in and they advance for six movernents while the opposing group falls back. And sop on back and forth till evelyone has had a go at leading.

These are the words. Do what ever you want with thern.

Chay chay coolay Chay coofeesa

Coffay solanga Chacka chalanga Coo edelay Coedelay

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35

35

Contracts

The Process, The Pitfalls and the Real Thing

of group lvork going on. There are forums, health promotion initiatives, P.S.H.E campaigns, comrnunity actions, interest groups of all kinds, research projects and community projects. These groups are seeking ways in which the members can work together so that they can achieve their goals without sacriflcing the: health and or sanity. Many of them therefore, create group contracts so that they can work together eflectively and ethically. However many fail to create an overt contract or agreement before they start working and run into all sorts Lately I've noticed that there's

a 1ot

of interesting times as a consequence. Possibly they feel that there is no need to check on everyone's needs and rvanl-i because they have a tacit understanding, or possibly there is someone involved who would prefer not to examine lvhere each of the panies is coming from. For lvhatever reason, not having a group contract when embarking on grou: endeavours has its dangers.

Sugar contracts When you try to make something out of sugar you've got to treat it carefully. It may be quite fragile so it will break if handled roughly. It may become sticky and lose it's shape if the atmosphere is too damp or it may form a shape that is so hard you have to use a lurnp hammer to modify it. In addition to these difhculties sugar is addictive, and danraging if it forms too large a percentage of your diet. Sugar contracts are a honey trap where in order to get people, usually the ones rvith apparently the least porver, to accept something 'bitter', a large dollop of sugar is offered. For example an ice skating trip rs promised for young people, but only if they keep coming to the youth club and participate in the anti-drugs programme. If the 'sweety' is a shared pleasure, or a celebration, or recognition of accomplishments, that's f:rir enough, but if it is a straight forward bribe then the power struggle will be on, with each side trying to rvheedle or

bully

a greater advantage

from the other.

Dwarf bread contracts These, named in homage to Teffy Pratchet's Disc World novels which provide the metaphor, are contracts that should be sustaining. It's bread after all, but lvill in reality only be used to beat you up. Drvarf bread is so hard that it's primary use is an instrument of war and such a contract is often used with people'uvho have been labelled 'bad'by society. Society's contract runs something along the lines of 'If you don't do 'that' any more then we \,von't do 'that' to you." The other party to the contract then either agrees or rebels and if they do the latter the battle lines are drawn

36

\n .Lrf

example of such a contract might be some probation agreements, which, in common with 'lveapons grade bread'are not interested in why people are acting a particular way, but only in beating them into submission.

: : isonous contracts

- roisoned contract

is poisoned by the fact that some party to the contract knows they are lying, either about their :.lity, or their rvillngness to deliver r.vhat they are promising. Offering to provide funding for a project if the '-:d-raiser can write a good funding bid, when the provider knows that there will not be enough money, is an example r poisoned contract. Poisoned contracts definitely hurt.

-lKen contract loken, in the dictionary, is something intended to represent something else, or, and I pref'er this, 'a small payment f or form's sake.' It is not a real thing or a real payment. A token contract pays lip service to the idea of ,:mocracy, power sharing, equality nnd reality. lt is by definition not a real contract, is consequently insubstantial and 11 not bear looking at too hard. A token contract be hastily arrived at and just as hastily forgotten and lvill not "vill ,rve that essential element, the agreement of everyone invoived.

--

.Lde

:eal contracts -. contract is about creating as much safety as possible fbr people who are engaged in a mutual -

activity. A reiil rntract is conduct insurance and r.vill to some degree predict a percentage of the future, in that it will guide the :haviour of the group members and therefore encourage them to move forwarcl rvith confidence. We rvould often like ' know what might be the consequences of our actions before we take them and a gootl contract may help us in our :ediction. he important thing about a group contract is that everyone lvho is expecting

it to protect them has to agree to it, and ' ' make this agreement more genuine every one has to feel that it belongs to them. Everyone has to f-eel that they can - rntribute to the process and thus gain from it.

-

You have to trust yourself with the task of presenting ideas, arguing your case and expressing any difficulties thar you --lve with other people's ideas when rnaking a contract. If you don't irave faith in your ability to create a contract ren you have a perfect get out clause of feeling like a victim and blaming other people rvhen the contract cioesn't ' ork for you. You know that it can't be a real contract because you were only pretending to be able to do it in the first

:lace.

You have to trust that the other people are able to make the contract

also. It is pointless to ask them for somethi,g

37

they cannot give. and unhelpful to pretend that there is no power or responsibility differential r.vhen in fact there is, or to pretend that there is more power and responsibility differential than exists.

If people accept a contract but

have not taken an active part in its creation, they will be less likely to understancl it's worth and be less likely to be bound by it. If the contract were an onion and you started to take it aparl layer by layer the outer skin represent the pieces of paper on which it is written. Just underneath that would be the final choice of words that the different parts of the contract is written in. Then there lvould be the discussions about the exact folm of those words. Under that would be the first draft of the words. Under that would be the ideas ancl needs that people said they wanted included in the contract. Under that rvould be the meetings of people to share each other's ideas and needs, and right at the heart of the onion would be the mutual trust of the people both in themselves and each other, that they would be able to make the contract.

A note on 'difficultating'. The reason that the Joker sometimes has to difficultate as opposed to facilitate is that sometimes people don't want to look at things that are difficult. They would rather stay with that which is easy or facile and never ask the difficult questions or offer the dif{icult answers that may be necessary if bad oppression is being suffered. Trying to stop oppression is in fact the difficult option as it r,vould be a great cleal easier fbr the oppressors, who tend to have the power, if the oppressed made less of an effort and just stayed quiet about it. It would be easier and require less effort but also be less just, so sometimes 'diflicultating' may become necessary.

Anna Gifford

38

Exploring

39

i

Bulgaria

Theatre'Tsvete', Sofia Forum Theatre with Puppets Host Organisation: Youth Centre, Chitalishte 'Bratia Mladinovi', Sofia. The space is a large room with a small stage and a big miror on the wall.

Number of participants: 5 male, 10 female, age group between 13 and 28. They are theatre club members.

The puppets are not the main object of their rvork. Half of them participated in our forum theatre workshop in December 2004. The others are interested in participating because of their friends'stories about the December meeting.

Session 1 The Circle We talked about Theatre Tsvete's aspiration to increase young people's awareness in citizenship through theatre.

We gave a short explanation about forum theatre, our current projects and the experiment we are going realise together using puppets as a vehicle for presenting forum theatre.

Games Objectives: Tofamiliarisethegroupwithdifferentkindsoffabricwhichtheywill actions and emotions in a new visual language.

uselatertorepresentfeelings,

1. Name Game: Different coloured and kinds of fabric were placed in the centre of the circle. The participants each chose a piece and took it in turns to create a movement which represented him or herself.

This presented the first opportunity for the group to use fabric as a tool to express themselves. As each person became lamiliar with the material, they explored rvays in which they could use movement and gesture to represent a nerv visual language.

2. Using

the same fabrics, the participants r,valked round the space greeting each other.

3' An energising game using music as a stimulus. The participants took it in turn to Iead the rest of the group usi,g the fabric in a processional dance. Tliis dance was very beautiful. As an observer, it rvas easy to see how the process of creating grace empowered the young people. This exercise created a strong sense of group harmony and was a very 40

.

r

... Llne another and can work well together. ln this case it r'vould havc been better to rvork on the 'J r.qinning of our lvork. afier the circle.

; :. .'e ....:tis \\rere divided in pairs. Every pair r.vas given the task of expressing clilfbrent states of emotiol'ls: one irozen : faciai expressior-r. the other one using a still gesture. The first onc rvorked behind a screell r'vith a .. lhe seconci covered his lace rvith a mask. The audience rviis asked to name the emotion rvhich vvas being , \\'ith this objective feedback, the actors rvcre able to alter their position if their images r'vere unclear.

r: theatre pecla-eogue, gave a short clemonstration in rvhich she showed the group various lvays of - rr puppet using masks and tabric to achieve different etfects. She demonstrated how the actor could : nriLterial to express different kind of cmotiolrs, using a simple technique to sholv the beginning, the :.t irnd the end of an action. ..rrutts were given r,vhite neutral masks and a rvhite clonk. Going on the stage each of them hacl to create a ,. Lrresent a state or emotion: alarm, enthusiarsm, desperation, hope, lust, infirrnity. The second task tvas to

,raracter: Grumbler, Drinker, Prayer, Vain, Optimist.

it was, to create ancl animate They all loved "the gante". Holr,ever they rvould have liked to have had more tirre to prepare their puppet ::.. before the presentation. All of us. participants ancl facilitators, r.vere surprised at the high level of emotional .re exercises produced in the gror-rp. The spontaneous expression of emotions thet this process produced ivas -.:Llal and rve found it very touching. ,' :he participiints said that they r,vere surprised holv interesting and simple

Theatre r.:dients for a successful fbrum piece using pLlppets:

. . o o o

Story must be clear.

Story rnust be realistic.

The audience must feel sympathy for the protagonist.

There must be something that the protagonist could do to alleviate the oppression.

Each small group has to decide the rvay to express the problems throueh the puppets: i.e. lvhat colour. measllre, proportion, unimalion, tempo-rhythm, plastic, sounds, and rvords, they ivill choose for each of the characters in the story, accordirrg their decision r,vith the prota-eonist.

41

We asked the participants to think about a story of oppression they r.vould like to share and then break for coffee.

The lack of time gave the group only a short break to have a drink and think of a story. lt was not a real break, so we didn't need to warm up, and anyway it was too hot.

After the break the group divided into 3 small groups - counting to 3 in a circle.

Forum preparation The members of each small group shared a story of their personal experience of oppression. We couldn't fbresee how por,verful the impact of the puppet images lvere for the participants, as this r,vas their first experience rvith forum theatre. When the group shared their stories, the youngest girl who was 13 years old, got very upset, but she canied on rvith the support of her group. When she went on the stage, she was very calm and was absorbed in her character.

The other girl from the same group, a beginner in our forum theatre workshops, presented us r,vith a very serious story, that we would joker later. Each group chose one story, and then decided hor.v they were going to present the piece using the puppets. Different patterns and coloured masks, paints, scissors, gh-re and yarn were made available, also safety pins and glue bands to sculpture the fabric. The minor was necessary fbr their work, enabling thern to experiment in the process of puppet creation and animation. After discussion about the created puppets and after alt erations had been made, the group rehearsed their forum theatre pieces.

Forum Showing After pieces were shor.vn the whole group voted for which story they wanted to forum. At the end of each presentation the participants were asked to name the piece in order to clarify their ideas.

"Drowned in Alcohol" Scenario: Two young men are sitting at the table, drinking r,vithout a word. This action is sustained through the story.

An old man is sitting in a small separate room, drinking. He empties his bottle and crosses the room. He goes to the corner with a bottle in it. He takes it, but puts it back again and returns to his small separate room. One of the young men quickly goes to check if the full bottle is still there. Finding it, he calmly comes back and continues to drink. A young woman enters with a new bottle and puts it, and some money, on the table. An old woman enters and asks for some of the money. One of the men gives her a note. She takes the old man for a rvalk. Coming back he is very drunk and falls down on the floor. One of the young men makes a phone call. We hear the emelgency sound and the two women bring the old man out. The two men take the full bottle and continue to drink. The puppets of the young men are created from very light masks and very dark cloaks. The old man's puppet is black. The puppets of the women are coloured. The feel of the piece was very heavy, because the group had decided not to use any sound - there was nothing these people had to say each other.

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"The Small Big Almond" Scenario: A story of {ive girls - the youngest. three teenagers of same age, and an cllder teenager. The youngest girl asks trvo teenagers to play lvith her br-rt tl,ey reject her. Her games are too childish for them. The third teenager enters u ith her friend - the oldest girl. All four younger girls like her very much, but the oldest girl tells them she is leaving tor the seaside. Nor.v she's alone, the third teenager befriends the youngest girl. When the olclest friend returns from the seaside, the other trvo girls report to her the new friendship. The 'nelv friend of the your-rgest girl' disappears and the other girls beat up the youngest.

Every puppet wore different colours, but to show the diff'erence in age, the group nrade the puppets in cliff-erent sizes lnd shapes. The youngest girl harl a ball of yarn fbr her heacl and her body, shorter ancl plumper than tl-re others. rvas nrade of brightly coloured fabric. The puppets of the three teenage girls r,vere were representecl by mask and cloaks.

The oldest girl wore mask and her body rvas covered with a black and r'vhite cloak. At the start of the action. in lt rright rnood, loving and loved by every one, her cloak shor.ved the rvhite half to the audience.'When she returns and :eats the youngest gir1, she presented the biack half to the audience. The 'ner'v fiienci' rvas given tlvo masks. The .econd one appears rvhen she betrays the youngest girl.

Jokered Forum Poliksena Koslova. "The Girl from the 4th Class"

,

Scenario: A man and a girl (10 years old) decide to pay a surprise visit to close relatives. Everyone is pleasecl to see :.renr. A short time after their arrival, their host suggests that as it is late they should retire to bed. As there are two s,tra people, the hostess tries to find room for them all to sleep. She points to a bed fbr the father and invites the girl :.. share the family bed rvith them, putting her in the middle. In the night the host tries to seduce the girl. She kicks, :::i1 tries to reject hirr, but he continues his attack and asks her to be calm and be quiet. This story r,vas played out irt .: ie nce.

lile

first part of the story, frorr-r the arrival to going to bed, the actors pertorrned naturalisticeilly. The puppets were -:::roduced as the story became darker. On retiring to bed, the girl and the women were represented by red and green :rppets using masks and labric skirts. A1'ter tr short chat, both of the actresses plrt the puppets on their bodies and lay .: the floor. The host's character was represented by the actor rvearing black and a red-b1ack mask r'vith a beak rvhich ::re&red after his decision to touch the girl. .r.. this story contained issues of both a sensitive and personal nature, the Joker asked tl-re protagonist if she agreecl to i.:: story being forumed. The girl replied in the affirmative. The Joker then asked the audience if they rvere familiar -.'.:h the story and if it struck any personal chords. The par-ticipants replied that they had only corre across these kinds . ,itories from movies and magazines. The joker asked if the presentzrtion of the story was clear to the audrence. The --..lience asked for it to be re-enacted so that the actors could clarify the story. :

: performance shorved that the family

is close and that everyone is happy to be there. The girl is happy and reiaxed heir house. The host invites her father to have a drink before turning in for the night. No one thought that it rvas

43

5

s i

44

;,.

wrong to invite the girl to share the family bed. The Joker trsked the protagonist to present the characters to the audience, as the story had been performed without lvords. The girl then presented her father, his sister (the aunt), and her second husband, her uncle. The Joker asked the audience if they could guess what character was represented by the actor wearing black. a black and red, non-human mask with a beak. Some of the participants nimecl it "vith 'Uncle's Bad Nature', others, his 'Dirty Conscience'. The protagonist agreed. The Joker asted i1l the participalts if they considered there 'was any diff'erence in the presentation of the story, because of the use of the pLrppets in it. They thought that expressing the different nature of the characters in the story, using puppets, macle it more expressive md unique. The actors felt that by using the puppets, it enabled them to present the uncle as a more complex character. :howing both his body and mind. The joker invited the audience to try to make positive changes in the story, using the main character, r,vhen they thought it was possible to do so. Without any instructions, and r,vaittng fbr audience intervention, the actors began the performance using speech.

The follor,ving interventions wel'e suggested: o The girl asked her father to tum round and go back home while they rvere still at the door.

The audience suggested that there was no reason lbr her request at this moment. o The girl asked her aunt to change places, and let her sleep in the rniddle. The trunt didn't want ro, saying that there she rvould be on the edge. o The girl jumped out of bed and went to sleep with her: father. The auclience again suggested thiit there was no reason fbr any suspicions at that moment. o When the uncle attacked the girl, she jumped over her aunt and out of the bed, ancl ran to her father to wake him up. The Joker asked if this intervention would have rvorked. The protagonist repliecl that she had never been close enough rvith her father to be able to share 'This Thing' r.vith him.

\

girl asked if she could make an intervention. Once on the stage she declared that she lvas going to scream ,,,vhen her '.ncle attacked her. However when she r,vas placed in the situation, she tried to stop her uncle using gentle persuasion, ' rthout any success. At this point she asked the protagonist; "Did it really happen to you'?" She then tried to soive 're problem by waking her aunt at the start of the attack, asking if she coulcl sleep somer.rhere else as she was afraid 'I him. The aunt looked at the uncle sutprised, he was snoring. However the aunt decided to allay her niece's fear :i rnaking up a bed from some chairs and putting her to sleep there. The Joker askecl if this intervention rvoulcl have ''' orked. The protagonist said her aunt r,vould never taken any notice of her fears, because she believed that she being . ,o fanciful. re final intervention

r'vas both stimulating and made us all laugh. When the uncle attacked the girl, she r,voke up her When the aunt said that the girl lvas being too fanciful, the girl began to pinch her until lipallyy the aunt could ind tt i no more and asked her and her Father to leave her home. The Joker asked which of the interventions '-tnd would :'rlly stop the uncle from attacking his niece. The actor playing the uncle commentecl that he coulcl only be stopped : ihe girl left and went to the father's bed, or lvoke her aunt up ancl asked for help. The same actor was askecl i1 the .Dpet had helped him to develop his character. He replied that he thought that their ideas rvere not quite reaiiseci in i way that they had rvanted. Using the puppets exaggerated the issues, but they haci problems in synchronising the -tvements.

-

::nt

45

.

Joker to father: "How would your character react if your daughter woke you up to tell you that her uncle was 'petting' her."

Father to Joker: "I would investigate the situation and ask my daughter exactly what she means by 'petting' in order to react appropriately to the situation."

Joker to aunt: "How would you react if the girl woke you up to complain that she receiving unwanted attentions from her uncle."

Aunt to Joker: "I would ask him to explain himself. I would also be unhappy with situation and feel that my brother's family was no longer welcome in my home."

The Joker then asked the girl whose story it was, how she felt during the Forum. She said that she had felt very stressed during the first two presentations, but now she felt very light and calm. When asked whether the use of puppets had changed the story for her, she replied that: By representing the uncle both in mind and body she had been satisfied. This gave her the feeling that the villain was denounced. The representation of the consciousness of the girl, played by the youngest parlicipant, a tiny 13 year old wearing a mask, made it not so frightening, but somewhat wretched and funn1r Seeing herself represented as a puppet in the darkest moments of the story, gave her the chance to look her story objectively, and made her feel both safer and calm.

Ekaterina, closed the workshop by thanking the participants once more and asking everyone to fi11 in an evaluation form. Everyone then retired to an adjoining room to rvatch a football match on TV. The evaluation showed that all the participants felt that the workshop had been both stimulating and valuable, but felt that additional time rvas needed in order to realise their best work.

General Notes The puppets highlighted the problems shown in the forum piece, and enabled the audience to ernpathise more readily.

Working with puppets presented a challenge for the participants.

The rvorkshop should take place over three sessions in order to give the participants more time to engage with their puppets and to prepare their forum theatre pieces.

The puppet characters should be presented at the beginning ofeach forum theatre piece.

In our future work we will experiment with different kinds of materials.

In order to realise the full potential of puppet fbrum theatre, rve should work with professional puppeteers, and Joker the piece to a nerv audience who are not familiar with our work Poliksena Kostova, Tsvete Yaneva

46

47

England

Workshop at Newhall Prison Joker: Simon Latham On the l5'r' of July 2004 I ran a forum theatre r,vorkshop fbr the 'Y.M.C.A England' in 'Newhall' Prison Wakefield, England. This work was aimed to address the issue of bullying rvith trainee offenders. The rvorkshop consisted of 40 girls aged between 16 and 18 years old. The girls originated from across a wide area in England and Wales. So that I could lead this r.vorkshop effectively,I split the prison wing into two groups r,vith rvhich I r,vould work separately but use the same format for both groups. The girls in Newhall are very varied in ability and experience. The majority have come from dysfunctional or disadvantaged communities and have had some experience of drug abuse We started r,vith a circle. I use this format wherever possible as it helps break dorvn inhibitions and helps to develop communication skills within a group. The concept that a circle puts everyone on an equal status level worked well, particularly in a environment of potential distrust. The circle started with introducing ourselves to the rest of the group. We then talked about a number related to how each of us felt and a colour that we could also relate this feeling too.

The group were quite receptive to the circle and its concepts and the majority of participants were honest and comfortable. I wanted the girls to think about horv they felt in general, at the moment of that circle and to relate a colour to that particular feeling. This was a very new and different task for the majority of these girls and it was a challenge to them not only as a social experience but as an educational one as r,vell. It was interesting to lind that the girls who were confident and feeling a high number choose light and vibrant colours - light blues, pinks and greens. I returnede to this exercise and repeat it as the last task of the whole workshop. This helped to reinfbrce the young people's own learning as to how they react, respond and process a new experience like this one.

We played 'Splat'as an ice breaking game, this helped the girls to become more comfortable rvith looking at one another without accusation or conviction, and learn how to be comfortable watching each others'reactions. This game is fast paced and fun rvhich helps keep the momentum of the workshop. It can also help to highlight the stronger characters in a group, which when exploring a bullying issue, can be important. We also attempted a 'passing the ball sequence game'. Although this helped to promote a better sense of team work, r,vhen coordination failed the level of both group and individual confidence dropped. This demonstrated that poor task performance had a visible effect on the level of focus in the group. This is often expressed through physical discomfort or withdrawal from the activity.

We followed the games by putting a contract/ ground rules together in a circle. Each viewpoint offered rvas written on A I paper. We then discussed and agreed with a show of hands befbre we used it as rule for the group. I decided

48

in this instance that if we stuck the contract on the wall everyone could see it ancl it coulcl be used as a fociil point to rvhich we could refer. These guidelines helped to give the rvhole session a structule which was particuiarly important rvith this client group.

i usecl image theatre to help the group stimulate their imagination. Using a series of key rvords, I split the girls into sroups of 5 and asked them to create one physicai picture for each word I gave them. This task helpecl to encollrage st-tbliminal thought processes about situations that could have bullying involved lvithin them. The images they created t'ere of families, friends, schools and bullying. I also asked them to create pictures based on emotions, fear, hurt, pain lnd regret. This was to help the group relate situations to actions ancl {'eelings.

It provoked a variety of images, some aggressive and some passive. For the most part tlie pictures they created r,vere Itteral pictures but one group did clo a rnore symbolic picture for 'regret'. The type of character in each group influenced the outcome of the pictures. For instance, when asked to create a picture of pain, a group rvith ir r-nore conftdent member created a very aggressive image. A11 the girls reacted positively to the task and rvorkecl rvell in their snrall groups compromising amicably with their flnal pictures, rvhich everyone showed.

Once lve had shorved and shared our image theatre, I demonstrated a blank forum using the kiosk lvindorv forum erercise. This created a platform on rvhich r've couid discuss issues that were aff'ecting the whole group. We cliscussecl equal rights and being treated diff'erently, rvhrch in turn allowed us to talk about everyciay lif'e in prison and the sitr"iations lvhich can occur. decided to split the group into five and askecl each to clecide on a story that they could tell one another in their small lroups. I then asked thern to decide on one story that each grorip felt strongly about. I asked them to explore their :tory Llsing drama techniques and the forum theatre form, rvhich I had already explained. \\'e took it in turns to watch each others'stories and discussed the diff'erent feeiings that they had provoked both fbr :le protagonist and the audience. It rvas interesting that they not only had issues ivith their own inter-personal :.elationships sunounding bullying but with professionals 'on the out' or those lvorking in prison. Officers seemed I be a key part of the story presentations and prisoners f'elt that both the procedures and the authority of the otficers -'ould be abused, thus causing 'professional'bullying.

1

lhe difl'erence in their attitude from the beginning of the session to the end was noticeable from the lack of lrguments ',nd general disharmony. I managed to get al1 the girls r,vorking with each other, even though there were underlying :sues of bullying r.vithin the plison and indeed on their wing. The girls f.elt that they had learnt something positive -'rth about themselves as individuals and each other. I think it helped them to understand 'nvhere and why cliff'erences : opinion and feeling can happen, and showeri some of the girls how their individual actions coulcl provoke negative

-'elings. he rvorkshop also helped to break down a stigma sometimes found around clrama and storytelling, particularly in -.:r environment like this. The response i felt, was a r.vell enjoyed, ner.v learning experience. i think if I could change -

.:r\thing I rvould have chosen a difl'erent game to the one we playecl at first. This dictn't seem to hold their attention as -:'lny of them lacked the necessary coordination skills. The contract worked extremely well in the workshop due to 49

the nature of this client group and the environment we worked in, on the wing. It was good to be able to remind the group or individuals of what we had agreed and what ultimately the work was about. This kept a clear focus and left no-one room to be unsure of the boundaries. If I were to change anything about this workshop it would only be the space. It was not really adequate and sometimes caused problems because it was neither comfortable nor big enoughldeally I would have liked to have used a space away from the wing but this, unfbrtunately, was not possible. Overall a very positive workshop with good and constructive outcomes for all involved.

Some comments from the girls involved in this workshop:

"I

really enjoyed it, didn't think I would".

"I've never done anything like that before and it has helped me understand some of the other girls better".

"It was a good laugh and it made you think about other people".

"I'd never realised that so many other girls had experienced bullying. It makes you feel more confident talking about

it".

Simon Latham

50

Denmark

[

-:-.etre

Gais-Johansen

. P;rticipants: 14 boys and 2 girls aged 1 I - 14.7 teachers,4 men and 3 women were present. We clid not every day because of the timetable. The Institution is for children who, for various reasons, .'. : rth their parents. They have been damaged physically and emotionally, they carry bacl experiences with . - :..\ do not trust people, or believe in life itself. They are very fragile, scared, angry, and frustrated, and = .rd violent in their reactions and behaviour.

t D F F

.

: .-r.e teachers

f p, -.:r people rvere going to prepare and perform a piece of theatre about pirates. I had told them at the start of the F . .p that these exercises were meant as an introduction and warming up before making Forum Theatre, just like fm -.:rs they know from the movies. We coukl only work for two hours every day because they are unable to [ - - rrate longer periods. It is not an Institution who uses theatre in as part of the daily programme. Once a year lm -:ate a small performance so both the children and their teachers were unfamiliar with this way of working.

-

-

I

F-,= l I

,, the first circle I had explained to them about the different exercises and games. ln the first circle they r,vere Fp. : :o say their name and a number

-

!t-ti-;

from l-10.

.f

rhem felt very insecure and just to say their name was quite frightening. Some of them said their middle :rstead of their first name. Some said they were minus 3.

I

i

G:-es F.'.:.:les of the games we played: $"'- ::ng in a circle one in the middle.

Say the name of one person three times before this person interrupts by saying -.:r own name. Name game. Standing in a circle, one goes to the middle says his/her name with some descriptive D,. :s. the rest imitate. The Three Amigos. The Irish Duels. Je Je Kulae. When I say walk, walk, when I say stop, r:: etc. Standing in a small circle, one in the middle with his eyes closed, small push. One with eyes closed. The one *..-. 3\ es opened leads the 'blind' one. The Columbian Hypnosis. Fruit Salad.

h,

I -,.: many different games and exercises, and I lvill in the following part, comment on the games I felt worked rt . "' e1l and the games and exercises that did not. Every day I had to be very flexible and change the programme if 5t

needed. One day the games rvorked very well, the next clay the children did not want to cooperate. I chose the first name game because they liked the contest. They knew each other and it was a good start. They like{ this game ancl reacted positively and without interr:uptions.

The second name game was to make the {irst connection between the spoken r,vord and their body. They had to

improvise and work as a group. They neecied to practice this game a couple of times before they knew it, anci felt saf-e enough about it to want to participate. 'The Three Amigos''"vas too ctifficult fbr them and demanded too much concentration. They enjoyed 'The Irish Duel' as they could use it when they prepared the play with pirates. It made sense. 'Je Je Kulae' was a big success from day one. The children named the pirate ship in the play Je Je Kulae. They thought it was very funny and liked it best when they could shout the lines rnsteacl of the times when they hacl to repeat it more quietly. 'Fruit Salad' was a hit. In the beginning everyone was a fruit, then pieces of cloth. and in the end one boy said, "Change place everyone who believes in God." We created some improvised theatre with great success, and they enjoyecl the ganre r,vhere the group stancls in tlvo lines, the first person says a word to the person opposite, this person repeats both the word and the r,vay it is said and then says a ner,v word to the next person who then repeats etc. We also used this exercise to make stories. Everyone in the group says one word in turn, which builds into a story that makes sense. This exercise was to get them to say yES. Last but not least we played 'when I say walk, rvalk - when I say stop stop'. This game r,vorked with them. They listened to the instructions I gave them r,vhich for these children can be very difficult.

The Contract I introduced the group to the idea of the Contract rvhen I worked with them in the school and before I startecl to make theatre with them, so they were familiar with the concept and hor,v it worked. a a a

a a a

To have fun We must not hit each other.

We will take care of ourselves.

We are a team.

When someone raises their hand in the air, everyone stop rvhat they are doing and keep quiet.

When we flght it is in slow motion and rvithout the contact. (This ended up being almost a

game in itself)

After the flrst circle I made a contract r,vith them. The only suggestion they came up with thernselves was not to hit each other. They did not use the contract. When I reminded them of it they replied that had not signed anything. However it did work in a way because we only had one fight during the workshop. lmage Theatre We only got to do Image Theatre once, but it was very interesting. The words I asked them to image were: school, child, fiiendship. The word friendship started a discussion about hor.v to express oneself if he/she is mad and angry, and the difference in how we express emotions. This lvas interesting because the boys put words to feelings, which normally can be very difficult fbr them.

However it was difficult for them to understand the meaning of the process. I tried to explain to them but it still did not

52

make any sense. When the discussion started they got interested. The boys who had thought this activity was stupid, ivere the ones who were the most active participants in the discussion.

As a facilitator I observed that it can be a goocl start for sharing, understancling ancl discussion.

Even though it was difficult for them, they started to connect their feelings with their bodies. The boys are not used to this kind of analysis, but I think it can be used in other contexts.

Closing Circle Every day we had a closing circle. After a few days the laughter ended, and all the boys felt better after the workshop.

We sometimes used colours to describe feelings.

The group felt safer with the circle. They could use the scale and they thought it was fun to play and some of them

really challenged themsel ves.

They worked together, they said YES instead of NO. They took some chances and they succeedecl. It r,vas a big challenge for me to work with this group.

One element that did not work well was the fact that the teachers were changing all the time. This altered both the group structure and energy. It was clear that individual teachers had different influences on the chilclren's behaviour and some of the teachers were more open-minded than others.

I learned a whole lot from this experience. I did not know the childern very well before this project.

Sometimes I pushed them in a direction that the teachers said would not work, but it actually did. Again I used my intuition. I also learned to respect the people I worted with and appreciate their limits. Sometimes ii surprises you rvhen the participants react in a way you did not expect, and to reach high goals you must sometimes aim low.

At the end of the project I felt very tired but happy and in some way satisfied. I think that this group could have achieved more and could have gone on even longer if the teachers would have given it a chance. Next time, the children knorv some of the games. I have already been asked by some of the young people who clid not participate if they could try the same. I feel positive.

53

54

Wales

Sherman Theatre 'Acting Out Group'

Training Organisation: Theatr Fforwm Cymru Number of participants: Male 3 Female 6 + 1. This group was i4 to 16 years old, apart from the leacler, Alys, who tvas in her early twenties. They were a group who 'nvere participating in an alternative curriculum programme basecl at the Sherman Theatre because they had been experiencing difflculties at school or because their schools had been experiencing diffi culties with them.

This group was very diverse in the way these difficulties showed themselves and so the common factor was the group itself. However, from the way that some people in the group commented on the 'posh' background of one of the girls, it is likely that most of them dicl not come from weil off families and, from the conversations we hacl, their experiences rncluded family disruption and ciysfunctional behaviour, mental health problems, bereavement etc.

Feedback fiom Alys, suggested that some members of the group had done some excellent self-clevelopment although little of it had been overtly self-reflective. This was partly because some of the group members had been directed to the project rather than because they had chosen to participate.

-\lso according to Alys they had done no forum theatre work before. They hacl been involved in creating and staging -sholvs for audiences to watch.

Everyone in that group attended that Saturday as volunteers and in their own time.

The Circle The opening circle asked forname, feelings on a scale of I 10 and why you have chosen to come today. I chose rame partly in an attempt to learn people's names and partly because it is useful diagnosis of the inhibition of the :articipants. All of these young people were able to say their names though some were much louder than others. i chose the number because I wanted them to think about and evaluate their own feelings. Also, if I do any furlher

-

''t

ork with this group I will keep asking them to do this because one of the marks of aclvanced emotional intelligelce .s the ability to know and understand one's own emotions and this is a skill that develops further with practice. euite

: few of the group gave

answers that were the realistically unlikely superlatives

of

10

or i. During the last circle the

55

answers lvere obviously more considered.

Finally I wanted to hear their answers to the 'why?' question. A significant number of them said they rvere there because Alys had nagged them to come and then retracted that statement and said they rvere there because they were interested. They could have been putting me in my place, 'We're only here because .t ,"u6.-.,r ;;;;. ;; 6"i, teasing Alys and then either changed their minds about the statement " out of compassion or fear. There were only a f'er,v in the group rvho lbund it possible to express themselves in a straightforward and assertive manner. Most diverted from any real issues by making jokes, or repressed the genuine expression of their feelings. 'rhis became apparent r,vhen rve rvere seeking subjects fbr the forum pieces.

Games Fruit Salad The group enjoyed this game and even the more inhibited ones were not distressecl by ending up in the middle' They played with enthusiasm and energy but without getting belor,v a superficial level. There was some resistance and lots of chatter but lots of laughter too. I could see that laughter is sometimes usecl agai,st other people in this group as lvell as shared with them. I started with this game because I know it myself time to observe the group and holv they interacted.

backrvards and

]

r,vantecl to give

Then we played the three times name game. They knew this game, though I had to remind them of the ruies from the work they had been doing r'vith the Sherman, but stillplayed it happily. They took 'losing'qr-rite well though there was still lots of 'acting out' from the attention seekers and defensiveness from thi shyer members of the group. I moved them on from each game before they r,vanted to because it felt important not to let this group get bored. S. resisted the game ending.

Have you got a room? They participated well after learning the game, freely changing places and shouting huggy bear. Because there had been so much chatter a lot of it with sexual undertones I chose 'have you got a roo,n, and 'huggy bear'rather than 'pussy wants a corner' and 'have you seen my minky' because I clidn't \,vant to lvaste time on the verbal reaction these phrases would have got.

I then played pick a spot which I had not planned but I made the choice because I rvanted to do something a bit more extreme with them than bomb and shield which had been rny first choice. I didn't rvant them to see me as too ,saf'e, and predictable so I gave them a more challenging activity. I did this because I wanted

a slight feeling of excitement and 'What's she going to ask us to do next?'The group were quite physical with each other and enjoyed the extreme contact and controlled violence of the activity. They played the second round with determination anJ really wanted to 'win' so many of them didn't stop when I whistled but carried on struggling till they had achieved their goal.

Then rve had a quick game of Wizards Giants and Elves. They knew this game and didn't need a facilitator for it as theyJust set off and did their own 'calling'. I found this slightly clisconcerting at first just but let go and Iet them ger on

with it.

56

I

We didn't do the focus gante I had chosen because I judged that it was time to move on to the contract. The group were tired out enough to sit and talk.

I lvas not convinced that the group were ready, under my direction, to clo 'hand on back of heacl' saf'ely so I postponecl ir..

The Contract We created most of the contract through image theatre because I wantecl to experinrent lvith doing that. I asked the group for a volunteer to create an image of hor.v they did NOT r,vant the group to operate. One girl created an image of l'ery bored people, rvithout any energy or connexion r.vith each other. This image lvas also interpreted as people r.vho wished they r,veren't there because they were rvasting their time. From this image we came to the conclusiol that the group should be interesting, fun and worthr,vhile. The second image was of violence and from this they concludecl that on the negative side they didn't r,vant violence and on the positive side they did want friendship. After this we talkerl through more domestic details Iike break tirnes and then after further discussion arrived at the statement that people should be treated respectfully. One of them said 'You should treat us the way you want to be treated,' offering the perfect opportunity to repiy, "That's what I'm doing."

There were a lot of issues to be discussed about the way the group behaved tolvards each other. Many times it seemed that they were unaware that their acting out of their orvn needs r,vith complete disregard for how this affected other people was by definition disrespectful. Very often, of course they were ileliberately clisrespectful which was clifficult in other r'vays as there was usually an established pattern and 'victim' of this kind of clisrespect.

I chose to make the contract directly after we had played some energetic games. I wanted the group to be able to sit and discuss it and some of then-r have attention deficit syndrome so it feit important to have given them the opportunity to tire the body, get into the present and have a laugh. I r,vanted them to get 'enjoyment chemicals' into their brains.

The participants mostly ignored the contract although the process of making it helped some group issues to surface such as the attention grabbing behaviour of some members and the way this made it diflicult for other people to get

their needs met. These issues were subsequently ref'erred to and discussed throughout the clay.

lmage Theatre The group started to listen, observe, make f'elver jokes and express their or,vn genuinely held opinions more honestly.

Jeliberately asked Aiys to stay out of the image making as I r,vanted her to observe.

I

When the focus of the work began to be about their current situation, the group members tuned in to what we were do:ng. They still joked and lost attention from time to time but I r.vas using a different style of interaction with them than

:heir usual one. They are aware that they can be thrown off the course

if they create too much disruption and they still 57

have some way to go with developing their self-discipline. Hor,vever they clid give much more attention to the here and now material. It causes me to realise again that the theoretical and general is completely insignificant compared to specific lived and experienced stories when we r.vant these stories to have a therapeutic or lif'e changilg effect.

Single lmages Theatre. They lvere all performers and these were the techniques they were using that they will have encountered in their theatre work. Of course it is healthy to express one's self ancl to make one's voice heard but, particularly in grgup work, not to the exclusion of all other voices. This then is one of the tasks of tacilitators not only to build individual seif-confidence but also sensitivity to other people's expression.

School. This r.vas bound to be a major issue for them. All except one did negative images of school. S rvas challenged about this by St. but he was not prepared to be real enough with the rest of us to show what his genuine reaction was.

He then spoke about being 'naughty' in school in case anyone thought his irony rvas genuine.

I don't like to feel. Again this was another way of getting them to think about their own feelings. It was difficult to register what the more genuine reactions to this one were as three of the 'attention grabbers' put their faces

Me

as

in their hands in mock sobs.

Me

as

I do like to

feel. This looked quite like

the 'theatre'image - very triumphant and extrovert.

Group lmages - My work.

I explained that this is r.vhat they anticipate or would like to be their work, or their chief occupation at this moment.

Some made images of hopeful ambitions and some of actual anticipations. One girl's image was of her having recentll given birth and being presented with flowers and congratulations. She r,vas called away after lunch by her parents and Alys explained some of the details of her life discretely to me. Whether her image was an aware or an unaware choice the extreme nature of some of the issues in her life made it understandable. I had left it largely without comment rvhile we were processing, partly because as far as I knew she could have been pregnant. I lvas glad that I hacl as it was evident that her issues where too difficult for this brief arena. I processed these images by directing the group's attention to the power relationships and the internal feelings of the characters. There was still a lot of giggling and talking over people in the group up to this point but they started to react more genuinely when we got to the images of their own group.

Group Images - The Acting Out Group.

Three irnages were created. Tr.vo included images of violence and one of r,vhat the group is supposecl to be doing. This

58

I

/

last image showed respectful rvitness of performance such as would genuinely empower and ilcrease self- confidence.

One of the other images showed trvo people, one by violence and one by gesture tiying to make another person be quiet. The loud person was played by a boy lvho referred a great deal to his own loudness, asking rny opinion increasingly as the day went by. The issue of r,vho rvas grabbing 'too much'attention and the need to do so particularly in theatre was much discussecl. One of them saicl you have to do that or 'no-one woulcl pay any attention to you,'

reflecting their experience of the wider world.

Forum Theatre We started on the forum pieces after lunch. We started with a circle and I explained verbally holv fbrum theatre works and what lvas needed for a good forum piece. I chose not to do the blank forum as time was short and creating models t'elt more important.

I told two brief stories that rvere current for me. One of the stories triggered another story from one girl and one more iiom a boy' The girl's story rvas clearly a forum possibility but the boy's was more of a rainbow of clesire piece. I erplained to him how there was no external oppressor in his story without going in the cletail of rainbor,v of clesire tt ork because we didn't have time for that explanation. \1ys spoke at this point and asked them if they wanted to explore some issues in their own group as there had been a iot of discussion about these during the group images. One of the problems was then clemonstratecl in the group rvhen trne of the girls wanted to speak but was talked over by one of the louder characters. I turnecl to her and asked if she anted to say anything but she had shut down. I then commentecl directly on this saying that I thought she f'elt unable "r

:o speak in the group and that I could see a problem right there.

I asked the girl who offered the lirst story if she r,vould be OK about her story being tbrumed and she agreed, so I -rsked her to choose the people she would need to create the piece. She was on her lvay to inclucling the whole group in :he cast but after a discussion she managed to reduce the cast list to essential people. I explainecl that for these lurposes we really needed a group to r'vitness her piece so she couldn't use everyone and she was fine with that. By good fortune ol her instinct she chose the loud boy between whom and the quiet girl there had been an atmosphere. \\-hen this group had gone to work on their piece I asked the rest if they rvould be prepared to create a piece about .--'me of the issues lvithin the r.vider group, 'Acting Out.' They were enthusiastic about this and the quiet girl :redictably opened out in this mosrly quieter group. Alys also worked with them

lhe tlvo groups worked rapidly to create

the pieces. The girl's story was hnished quite quickly as she knew very

;iearly what she rvanted to show. She needed reminding to only show the problern and not play out a 'happy ending' rut she did manage to create a truthful ancl effective piece. lhe other group needed to discuss rvhat elements they rvanted to inciude. In the end the scenario they chose included .ssues with other people in the group, not present at the workshop. It did horvever show oppressions that they wanted .'r look at. They showed a scenario of direct oppression of one girl by trvo others. The group shor,vecla time when : lsting for a show rvas going to happen and there were two girls rvho wanted main parts tbr themselves. First they

59

tried a direct appeal to the leader. "We should have it we're the best, she is no good". Then when the leader left the room fbr a moment they manipulated the girl's fi'iend cruelly and very specifically and pushed her alvay. When the leader returned everyone ieft and she remained aione on the 'stage'. I went i}om group to group checking that they were progressing and time-keeping for them.

Each piece was jokered as it lvas sho,uvn. I chose to do this because there rvere only trvo pieces to see and it seemed more sensible to keep the continuity. It did mean that I had to be strict about time though to nrake sure that the second piece had its fair share. I had helped with the creation of the girl's story so I kner,v r'vhat rvas going to happen there but I chose not to see the other piece until they performed it for the rvhole group. Sometimes I pref'er that because then I better understand the impact the piece has on the audience rather than being too familiar with it. It is of course better jokering practice to prepare one's self by being familiar with the piece that is being jokered. This second piece got the gasp of dismay from the audience at its conclusion, rvhich demonstrated their identification rvith the scenario.

The girl's story was forumed by three people's interventions tlvo of whom came up to change the action, and one who gave his suggestion from the audience. He didn't want to intervene himself zrs it rvould rnean taking on the girl's role.

I had previously noticed that the others sometimes made quite obscure yet distinct allusions about his sexuality.

The interventions that were demonstrated r,vere:

:

relationship with the oppressor

HTf;Jiilifrl:etter

There were more suggestions than r.ve had time to process but the conclusion reached by the -eroup in general r,vas that the difficulty she f'elt',vas also perceived by other people and therefbre she should not f'eel foolish. Although we had offered various ideas, we weren't sure we had hit on anything she couid do. The gains rvere that she hacl aired the problems and checked out the reasonableness of her orvn feelings, and it may be that she rvill be able to build on this rvith some future work.

The other story was received by the group with emotional and verbal recognition. The audience started supplying the names of the people who were doing the oppressing and a confirmation of the total reality of the situation. The piece got one major intervention. in the model rvhen the protagonist was pushed aside, she just left, but in the intervention she refused to be pushed and argued with the oppressors. As a result there was a scene r.vhen the leader returned and positively intervened on her behalf. The message r,vas loud and clear. If you quietly accept your oppression it will continue, but if you refuse you may find help.

Closing Circle

I decided to give the group a quick game before the closing circle so I tried 'Hand on Back of Head' with them rvhich I had considered not safe enough to play at the beginning of the day. I gave this a srnall amount of tinre and although 60

joking to the end' they lvere careful with each other. I then offered them 'l'm Falling'and they managed to avoid anyone hitting the deck. After a linle while some of the group started trying to 'trick' the others and i stoppecl the game because I could see that eventually someone was going to succeed and hurt themselves.

We made the flnal circle and they were all very appreciative. The loud person had quite a conversation with me about his loudness' "Do you think I'm too loud?" I was straight forward with him and said that althoggh it would be a shame to lose his 'Joi de vivre' and humour, giving other people a bit more space might be nice. i wish I had had more time for this conversation but it r,vould have been denying other people attention, lvhich was what 1ve were trying to avoid. The circle included one interesting thing. The girl who had told the story said that her 1 l0 number was 4 and when I made a sympathetic sound she said "well it's better than it was. I r,vas only 2 this morning.,, I didn't remember her saying that and one of the group challenged her about this saying "You said you were l0 this morning

-

2." She really didn't remember saying 10 but only remembered feeling 2. It is an indicator of how much more honest she was prepared to be rvith the group by the afternoon. She also lingered after we had finished and told me how much the Acting Out group had meant to her and how it had helped her over the year and a half she had been working with them, giving very concrete examples of how she knew she had changed.

One boy had begun the day by saying that he had to leave at 3 o'clock and then had a phone call at lunch-time from his father who wanted him to leave at 2.30. When lve were going to process the modeli I reminded him of this and said your group had better go first so that you can get away but he just brushed it asicle, saying "never mind that I,m staying." He was one of the very jokey ones who did a little testing of people's tolerance levels. I should think he ofien draws negative attention to himself so I think rvhat he responded to r,vas the Adult to Adult style of the workshop.

They still needed to be reminded to listen to each other and you can't expect to change the habit of a lifetime in one clay. but they were fine about being reminded of it and took it with good grace. not

Anna Gifford

61

62

Estonia

All Youth Against Violence The r,vorkshops were organised by Tallinn Support Centre for the Children in the autumn of year 2004 and facilitated

by VAT Theatre Forum Group members.

I

i I I I I I I I

Ouring this project, in a period from November 2004 - December 2004,lzdifferent workshops were held with various groups of students from the universities of Tallinn. Altogether 180 students took part in the workshops. Each group specialised in different areas, but every student would be working in the future r.vith children or young people, and preventin8 violence should be one of the goals of their profession. The aim was to make them think about behavioural issues and enable them to observe during the workshop, through different activities, ways how they can in their future job prer"nt violent behaviour. The other purpose of the workshop was to analyse which prevention tools work, and those which do not touch youngsters. Do lectures and posters, that say violence is not good, reach them or not? This was one of many questions which were on the agenda.

I

I On" important aspect was the fact, that we, the facilitators, were young - either still students or at the beginning of our I Professional careers. This made the contact with the groups easier and the activities more relevant. The method and rvas youth to youth!'

I Rrincille -'from I ,n. students were studying: social work, youth work, nursing, police, special pedagogics, aft teaching, behavioural/ J

activity therapy, correction

(ail officials),

recreation, kindergarten teaching and lifesaving service.

I *. length of the workshop rvas 2.5 - 3hours. main structure of the workshop was built up with the following activities: introduction; ice breaking games (warm I The upt); Forum Theatre; brainstorms; group work; physicalized activity to create discussion about the myths of violence; I I development of a new word-game (a'la ALIAS) that consists of words that have links with violence or the prevention I siOe: feedback and conclusion.

I I I !

,o*.r.

and Groups

63

and Piret Soosaar shares her experiences of a rvorkshop of student kindergarten teachers (34 female students) front ::= Tallinn Pedagogical Seminary. The three groups had no previous experiences of Forum Theatre.

The Circle An opening circle, where we describe who lve are, our background and our goals for this project and the lvorkshop. why this issue is important for us and what lve want to learn from the project and the rvorkshop. Also a short description of the work being practised in the Support Centre.

Kadi: Our introduction - getting to knor.v each other. Who are

r,ve

and rvhy are we here and rvhere we come from. Th..

was short and practical.

Mari-Liis: The aim was not to be offlcial, but to build an easy and ice breaking athmosphere. The group reacted negatively at first and seemed switched off. It was probably because they had been studying in the same room fbr th< rvhole day and the university had made it compulsory to stay in our workshop. It was understandable that they did nc': feel good about the workshop at first. It was not their choice to attend arnd the time rvas already late afternoon.

Piret: Telling the group why this theme (violence) is important for us, the reasons way we are personally involved r.vith this project and that we came to learn together with them r.vas a first step for creating a positive atmosphere for the group r,vork.

Games Name Game

Everybodywalksaroundtheroom.WhentheJokersays"Stop!"andanumberf}om

l-l0,thestudentshavetomake'

group according to that number.

In groups/pairs, on the instruction "Stop!" they have to put their fingers together and talk abor.rt the rveather that day. O: the second time they are asked to introduce themselves in 'gibberish'. When they treeze fbr the third time they have tc say the first thought or sentence that comes to n-rind. The keyword is VIOLENCE.

Mari-Liis: In the Police College I did not ask participants to put their fingers together or say rvhat they thought about the weather and they did not have to introduce themselves in the 'gibberish'- they cor-rld introduce themselves in Estonian language. This would have been too abstract and childish for them. This game rvas possrbly too abstract for the students and as it was the first activity after the introduction and they uiere not at a level of properly understanding ',vhat r,vas happening. They had come to the violence rvorkshop in the hope that they rvould not have to do anything themselves, just be passive, and suddenly rve had asked them to stand up and move. Not everybody rvas happy about that but we carried on and tried to adapt the game. The games changed the atmosphere and the group became more relaxed.

64

Kadi: The game was pretty r,veird and even shocking for many of them, but as men they did not want to be not left out even

if the game was weird. That is positive.

Piret:

The kindergarten teachers liked the game and they communicated quite freely, but some of them dicl look a bit confused when they were asked speak in gibberish.

First energy game: Arriba!

Everyone stands in the circle, feeling energetic, shaking their hips like pretty people, smiles on their faces and with lots of self esteem. Then the leader starts with a ball of energy and points to a person to start moving it around the circle. There are four words you can say:ARRIBA, TORO, SOMBRERO, RUMBA. The main thing is nor to forger rvhat to say or lvhere to point. Also you must not lose the enelgy. "Arriba" goes to right or left; "Toro" means to Stop and change the direction of the energy, "sombrero" goes to someone who is standing opposite yoLr. If somebody makes a mistake, other people scream "Rumba!" and dance towards the central point of the circle. This game gives a lot of energy, smiles and laughs.

Mari-Liis: The ganie rvas usually used r.vith other groups of students, but in the case of the police students I did not it because it seemed too playful for them. I felt, that they would not go with this game and the outcome would be

use

counter-productive names in the line.

-

not energetic people, but upset people. The other option was to play an energetic game saying

Kadi: The game that I used rvas 'ground, sky, nose'. It is a concentration game ancl very good for the mornings.

Everyone in this group felt they were the fastest and had the best concentration. Once again, they had the opportunity to cornpete. I have to say that competition is very necessary for this kind of group.

Piret: : I think this game was very suitable fbr the kindergarten teachers because it was an all-f'emale group. It created a kind of 'girls just wanna have fun' feeling and made the atmosphere more relaxed ancl not so schooiwork-orientecl.

One of the minuses was that the group/circle r'vas very big and the energy seemed to get lost, as they rvere clistracted.

Second energy game: Names in the line.

People sit in lines that are more or less equal. After the Joker has said "Start!" everyone says his or her name flom the beginning of each line. The last one in the line has to jump up and say his/her narne loudly. The first one to stand up is the rvinner and is congratulated by a handshake from the Joker and the other two facilitators.

Mari-Liis: The game lvas quick and fun. It was very easy to make people feel competitive ancl to do something absurd and still feel energetic. Shaking hands with the lvinner was important in order to show respect and create trust.

Kadi: It provided laughs and good energy!

Piret: This game was good because the group rvas big (34 people) and they had the opportunity to clo something fast and energetic together within a very short amount of time.

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First focus game: Finding the POINT. Everyone starts to walk around the room without bumping into each other. Everybody has to find a place in the roorn with their eyes and walk there without changing direction. The aim was to look fbr a point on the floor. The points of many people could have matched so what is the point and where is the point? If we find the point in the beginningmaybe we could go home? Is it possible to find the point so soon?

Mari-Liis: This game was

a little bit silly but with good intention. It was confusing, and that rvas the aim, to shake people out of their realities for a moment. In the case of police students this was maybe too metaphorical. They tend to be very realistic and do not think symbolically. We tried to adapt it anyway.

Kadi: It was a fast and linear game.

Piret: During this game some of the participants seemed to be confused and uncomfortable. I am not sure that this game was in the right place. I think it did not benefit the process. Comments on the feedback paper lvere that "the game was pointless" and o'I did not understand way it was needed".

Second focus game: Ground, nose, sky.

The participants stand in a line with the Joker in front of them. They have to move according to the orders the Joker gives. The instructions are: "Put your finger on your nose, point the ground or point the sky". For the next level the Joker looks at one thing (sky) but shows another (nose). The group have to show what the Joker looks at, not what Joker shows. The last person who is not confused and can do the exercise is the winner and is congratulated with applause.

Mari-Liis: This game was good for the police students, because they had clear instructions. We told them that this was for checking their coordination and this was good enough for them - for them, the exercise had a point.

Kadi: The game had a point and provided really good energy: men and boys love this game.

Piret: It was a good game because the entire group was in front of me and it gave me the opportunity to connect with them. It also gave me time to get an overview of the group as the previous games r.vere either very fast or people rvere situated in such a way that I could not reach them all.

The Contract Next we make a verbal contract with the participants. We suggest different things, for instance if it is alright to photograph the workshop and if sornebody wants to say something, they raise their hand. We do not make it compulsory for people to stay in the workshop, even if the university had told thern to do so. If they feel that it is not good for them, they can leave. The contract also includes the 'rule'that, during the Forum Theatre section, all scenes played by the spect-actors where physical violence is needed, are played in slowmotion. Everybody has the right to state their opinion and also to say if he/she did not want to participate. The same rule applies to the interventions during Forurn Theatre. If

66

somebody does not want to come and show the proposed solution, it is ok. We set the rules in the beginning and when needed, repeat them during the process. Everybody accepted the conditions.

Mari-Liis: The policemen were, at the beginning, quite disturbed by the fact that the workshop was nor only late but compulsory and some even left. However the ones lvho were really interested in the issue stayed. At the start, the overall impression was that they were very rigid in their opinions, but after the warm ups they became more relaxed.

One of the participants said "Why are you asking us to say things? We already have a strict code of principles which rve work to." This was said by a young man who was little more than 20 years old. Very interesting.

Kadi: If they were told that this workshop is'vabatahtlik'. they would still have had to come because the group leader says so. On one hand it is good because they are disciplined but we always like to have people in our workshops that come because they want to, not because someone asked them to...

lmage Theatre The participants, in pairs create slow-motion movements showing physical violence action. Both the participants and the facilitators take part. The aim is to show how one hit gives birth to another - violence gives birth to violence.

The participants are divided into groups of 5-6 people. They brainstorm ideas about what could be effective/ non-effective violence prevention tools and how they could prevent violence in their future work. The groups then are -eiven the opportunity to show their ideas through a still image which they can bring to life if necessary.

Mari-Liis: The overall consensus was that police uniform already police deal more with the consequences of violence.

has a strong preventive aspect, and that generally the

Kadi: It is like one version of getting to know how to make a story. The group made theatre and the topic was 'street Violence'. This group created very realistic images. I think the reason for this realistic approach was their area of studies.

Piret: This part of the workshop created a very lively discussion about the violence in the kindergarten.

The parlicipants then work in small groups and write on large pieces of paper as many words as they can remember that refer to violence. The words can go under larger categories like: objects, characters, activities, places, forms of

violence.

After the brainstorm. a short guessing competition takes place. From each group, one person has to describe to their group a word from another group without mentioning the actual word. They can use mime to describe the particular word to make it more visable.

67

Mari-Liis: Some people sholved the words more through body language, some more verbally. This group pref'eled the verbal way of describing the word.

Kadi: In the Life-Saving Service, they explained the word through mirne or short sentences."

Piret: The energy in the room was very positive for this section because the serious discussions which had taken place earlier had created an intense atmosphere.

The words that participants write were collected and a new word-game for youngsters was created and printed - a'la Problematic Alias. The name of the game is ENTER and can be used as a tool in youth work, social work, teaching etc. The aim is to approach the subject through playing a joyful game, but at the same time focusing on the important and difficult subject of violence. It could be used like an ice-breaking game.

Forum Theatre The phases of Forum Theatre performance:

Describing the Forum Theatre formula to the participants Introducing the characters and the environment of the pertbrmance. a Playing the piece of Forum Theatre for the first time a Asking questions such as: has anything like this happened to you before? Is the situation real? What exactly happened in the story? Has anything like this ever happened to you or somebody you knolv? Where else can this happen? What kind of forms of violence were used in the story? Who did you feel most sory for?

The Hot Seat. Participants asking questions of the characters. Rules for the actors: hear the echo of the Joker, then ansrver without looking at the eyes of the audience (spect-actors).

Asking questions from the audience. The Joker tries to make it clear as to who was actually a

a

suffering the most and who could most likely change his/her behaviour.

Participants wete suggesting solutions.

The play was performed for the second time Different interventions were tried.

The conlcusions. The characters standing one by one in front ofthe audience and hearing suggestions for change in their future life. For instance: Be more brtrve and find a hobby, be nrore open minded and tolerant etc.

The Joker then described the background of the story. Everybody lvas told that it rvas based on the stories of the children of The Tallinn Support Centre for Children. It rvas also mentioned that the characters'names were changed so that it could remain anonymous.

. . .

We perfbmed a story about one boy rvho is 15 years old called Janar. His mother lvorks long hours and his clad left

68

home about 5 years ago. He is studying in the 8th grade. When new boy Kert comes to his class, Janar does not \,vant to go to school anymore, because the new boy makes him to do his homework as well. If he refuses he gets punched and kicked. The teachers know nothing and Janar is too scared to tell them. Our story gets going one day in school after classes. Kert puches Janar. He gets upset and starts to make a scene but the teacher walks in just then and assumes that Janar is the aggressive one...

Mari-Liis: The Joker had to be flexible in the forum, not pushing too far with interventions and creating a safe space for people to feel free to intervene or not. Like always, when the Forum Theatre play starts the room became quiet and it was possible to feel that they were thinking about the issue. The interventions from the police students were rather interesting because they wore uniforms and it was a challenge for them to come and play somebody rvho is being hanassed. They could change the behaviour ofthe teacher and ofJanar. The interventions were on one side passive - just sitting and playing authority, and from other side agressive - attacking the oppressor.

Kadi: As a Joker I always find this kind of group interesting. They had a very clear understanding of the issues. You cannot make mistakes.

Piret: The kindergarten teachers' group was quite active in the playing interventions. One of the interventions was to meet in the principal's of{ice, and discuss the problem. We had four students playing the oppressed boy Janar and his mother, the father of the oppressor, and the principal of the school.

Closing Circle The feedback is through evalurtion papers and verbally. jokers: The participants who had stayed until the end of the session, were satisfied and had no regrets. We are sure that the workshop was successful.

A11

Mari-Liis: We finally shook hands, to create a joyful and respectful environment with all the participants that had stayed, despite their tiredness the lateness of the hour.

Some comments about the methods from the feedback papers: Police college

tt'o"nt;;.

. '

merhods were coor and joyful.

Interesting and made me think.

At flrst I did not know what to think, but as time flew it became more balanced. The workshop

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It is not possible to give verbally the

same view of the problem.

Live Saving Service Students:

I can apply this knowledge when I am working r,vith children or youngsters or being a father.

The workshop did not go as I thought it would. It r.vas interesting and had a ner.v approach.

I saw many new angles and chances to make a difference in the topic of violence.

Kindergarten Teacher Students

:

We could have spent more time in analysing the Forum theatre part.

I started to think more about how to recognise when somebody has a problem.

I got some ner,v ideas of how to prevent violence in the kindergafien.

There could have been more replays during the forum theatre part of the rvorkshop.

The workshop r.vas too short You (the facilitators) could have replayed the forum theatre stories.

At end of the play there could have been more comments from the audience The beginning of the workshop rvas sudden. I do not like to be so communicative so early in the morning The forum story seemed very real and life like to rne I started to think more about the reasons rvay people act violently.

I will be able to use some of the workshop methods workshop in the Kingergaren.

Plusses and Minuses Mari-Liis and the workshop with the Police College students: The fact that the rvorkshop was so late and made compulsory from the university was hu_qe minus. It lvas a challenge to work so late. Also the room was not big enough. There was not enough fresh air, the lights were very artificial and the shape rvas too like a fbrmal classroom.

During the Hot Seat in the Forum theatre part, the Joker could have channelled the information more. Maybe even squeezed more information from the rather introverted audience. The echo was used, but it could have been used lvith greater strength. It is very important to repeat every sentence from the audience which is directing us towarcls the solutions and a better understanding of the problem. It is even more important r,vhen the audience is into their orvn subject and makes a noise to see if it upsets the process of Forum Theatre. They got a surprise when they noticed that the words they had used to disturb the process, lvhich also showed their ignorance, were being translated and included in the rvhole meaning of the process - the forum. The difficuity of jokering rvas because the Joker had to also 7A

play one of the roles, the teacher. There was a double role and therefore double obligations. It was challenging.

The atLention had to be spread between two directions.

Also the participants who really were interested stayed, and we caried on despite an adverse reaction at the beginning of the workshop. It ivas challenging to break the wall. We had very interesting discussions over this issue with the people who stayed. We got to know more about the mentality of police students and their reasons for doing this job.

They probably got more knowledge about how to prevent violence instead of only dealing with the results of violence rvhich they could use in their future careers. The atmosphere was interesting as they rvere taking part in our workshop rvearing police unifbrms. We were even a little scared in the beginning, but at least our respect towards the police as a profession has risen.

Kadi and the workshop with the Live Saving Service students: The workshop did not got the way they thought it would at flrst, as they thought the topic was too common for them.

However, feedback at the end of the workshop demonstrated that it had opened up many new angles and shown them how to make a difference. This group talked lot about the importance of families.

Piret and the workshop with the kindergarten teachers: The minuses were that the group was very big (3a people), So it was quite hard to connect with all of them. I1 this group there were three leaders, two seemed to be the representatives, and it took some time to get other group members to speak out. I also felt that there was conflict between the leaders, so I hacl to take care not to let them diminish the role of Joker. Another minus was that I was always conscious of time. I had to end some of the dicussons before they were over because of the time. We did not have the opportunity to go deeply into issues, so it f'elt somewhat superficial.

The group was interested in the theme and open to new ideas and tehniques. I think one of the reasons why they liked the more playful tehniques was that they were studying to become kindergarten teachers. We got a lot of positive t'eeback and some critical comments, which I value the most because it helps my development. We also got a very nice volunteer for the Tallinn Support Centre for the Children. Finding volunteers was also one of the goals of the project.

Piret Soosaar, Mari-Liis Velberg, Kadi Jaanisoo

71

72

Serbia

Host Organisation: Cultural Centre "Stari grad"

Delivering Organisation: Cedium Jokers: Ivana Joksimovic, Aleksandra Markovic, Jelena Vuksanovic Number of participants: 3 male, l1 female aged 20 - 40. The participants were a mix of professions, ages, and experience. Some of the participants were students, and two of them rvere from Slovenia. The others were associates of Cultural Centre "Stari Grad", music pedagogue, ballet pedagogue. This lvas a one day workshop.

The Circle The feelings on the scale from 1-10 were variable and mostly low, because people were tired. We gave a short introduction to Forum theatre and what are we were going to do.

Games Name Game: The concentration at first was not really at the right level, so the participants needed some time to understand it.

Fruit Salad: We introduced this game as a game of truth and people immediately lvanted to go into deeper things about themselves. It was really interesting to see something like this.

Cat and Mouse: It was dynamic and fast, once they realised the rules, and the participation level rvas high.

Find a Partner: We did this game before Image theatre in groups because we wanted to make pairs for the fbllowing lvork.

lmage Theatre (lndividual) School. The work was on the difference between subjective and objective observations. Most of the irnages rvere obvious associations with this theme, like: reading, writing, and teacher in front of the blackboard.

Where I Live. Also work on subjective and objective observations. Most of the images were representations of the positive side of this theme.

How I want to be. The images were idealised versions. Once an image was made, participants could step into this image and make a new one.

73

How I don't want to be. Images of oppression, pressure. In one of the individual images the group created a sculpture which made an endless circle of oppressed and oppressor.

Hotv I am. The images were clear, and ordinary. It was afreeze frame of people in everyday situations. There was no dramatic i nterpretations, or exaggeral. ions.

lmage Theatre (Group) What is good about where I live? The work was modelling in pairs. After everyone finished rve had a presentation of all the pairs. We thought that this piece of work was not appropriate. It should have lasted longer to let the group go into the theme more deeply. The images that they made rvere more like some kind of an innocent joke.

What is bad about where I live? Also modelling in pairs. We realised that people worked on this theme much more seriously. and that the images were much more truthful. We concluded that people pay much more attention to this theme, because this is every day life. They go into it more quickly and easily because it is a more normal state of being and thinking. These images helped us to get the themes for the Forum pieces.

The Circle From all the ideas tha,

. .

group ima.qes we voted fbr four themes.

T#lf:,Lthe Filthiness Excuses (you do it)

Then we played a game of their choice which was 'Send a clap round the circle.'After a break we went straight into games. We played 'Mad Chicken'. It r,vas fast and dynamic and we did it trvice.

Explaining Forum Theatre We did blank forum with jokering because we realised that explaining Forum theatre through example is much easier.

We had four groups and they r,vorked all over the space in the building. It took thern 2-5 minutes to finish their scenes.

Forum Showing Forum I was on the theme 'Excuses'.It was a scene between husband and wife. The husband alr.vays has some excuse, even when he has to buy a medicine for their sick child. He asks his ivife: Do I hirve to do it nor.v? He is in the car driving back home, the woman is at horne with a sick child.

74

Forum 2 was a scene working on the theme of aggression. This was happening in a primary school. in the break between classes, two bullies want to take a sandwich from an vulnerabie girl.It happens every day.

Forum 3 was also about aggression. A very disturbing scene with a mother and child on a zebra crossing and police officer that drives his car towards them. He is cop out of uniform, and lvhen the woman starts to shout at him, he takes out his gun and badge and yells like crazy.

Forum 4 was the theme 'Filthiness'. A situation is going on in a building. One of the neighbours with a particular 'hobby' leaves bags with rubbish in front of people,s doors.

Jokered Forum The participants voted for the forum piece number 2. We were sure that Forum number 3 was going to have the most of the votes, because the reactions of the people in the audience were very strong. We repeated all the necessary questions befbre we started working on this piece. The scene was realistic, was clear, and the protagonist "r".ything was obvious. There were a few very different solutions, which kept the dynamic of the work. The solutions provoked the other participants to react in different ways and discuss the various suggestions.

As much as people had iheir own opinions they wanted to listen and think about other people's motivations. ihey had respect for others, solutions. For example, one of the oppressors said that one of the solutions was a real breakthrough, urd thut the oppressed person changed everything in few seconds. We finished with the solution that everyon" ,oid ,uu, the best on". tt provoked many questions and new themes. At the end we worked on changing the genre: musical, caftoon, horror ancl opera.

There was no need for adding scenes, or making many changes because it was very clear and structured.

Closing Circle At the end the group had much bigger numbers on the scale of feeling, than when they came. The group was a mixture of different ages and experiences and it is an important factor in these kinds of workshops. Hor,vever everyone lvas satisfied with the work. We also commented that the scenes that we saw were very good, and that we were grateful fbr their co-operation and involvement in this one-day session.

Final Game of your choice We played Sava raka, a version of Je Je Kulae, because it's dynamic and good mood and full of positive energy.

it was good rvay to finish

r,vith everyone in a

General Notes We think that the flow of the workshop rvas natural and relaxed, as the participants told us after the workshop. The co-operation between the three of us was smooth and there was no competition, the instructions were clear.

75

we felt that whole of the first part we did automatically. This is because image theatre should take much more time, so the participants can be more involved and go more ieeply into the themes and really think about them. we noticed that in this model there was too many things going on. t, it is particular group it wasn,t a problem because some people had experience of this kind of workshop, but for peopte who had no erperi"nce of something like this. it mighr produce confusion' According to this model the pause rnat<es a fake break in the work. Also some of the games do the same thing, so we decided not to play them.

All of us realised that we need a lot more practice. Everything seems so easy when you participate, but when you have to control the flow of the workshop you feel a much grea-ter responsibility. For this rve should have more self-confidence and strength' We learnt not to control too much, but to work objectively with the audience and the

actors in the scene.

After the workshop we realised how big the work is that we have to do, not only in this situation, but in general.

Ivana: when I am a participant, I am relaxed, because someone guiding is me, but I am scared of my personal strengths and rveeknesses. when I am on the other side I am afraid of other people,s. I still don,t know how to empower myself so I can make other people feel safe.

Sandra: My feeling is that it is great when we co-operate in jokering, because I can be involved in work from more sides' than when I work alone. I feel safer like this. when I work alone I have to deal with bunch of other things.

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Jelena: Every beginning for me is scary, but this session made me relax very quickly because it,s different when you know that there is someone behind you if you make a mistake or forget some information.

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Delivering Organisation: ADEO Host Organisation: A group of schools in Junqueira The participants were parents and people responsible for the children's education from Junqueira's Kindergarten.

Most of them were born here and live in this location. It's a rural region, with a strong religious dynamic (catholic).

There is a wide diversity of occupations. The level of education does not exceed basic school. The space was a 49 square metre room for kindergarten children and well lit.

Circle Most of the group \.vere very tired, but with some exceptions they relatecl well to the session. However only two people showed a lot of energy and self-classified as nine.

Games Name Game: They liked this, and to their surprise they had fun. Fruit Salad: They played this game im2ginativeiy and rvith a lot of enthusiasm. Cat and Mouse: They experienced some difliculty in understanding the game at first, but then played the game energetically. Find a paftner: They chose their pairs almost immediately, looking ar the person rvith whom they had some affinity. Columbian Hypnosis: They liked this in spite of trying to make the movemenrs too fast making it harder for their partner to move.

lmage Theatre (lndividual) School:They achieved this easily and created strong images. Where I Live: The participants found this task difficult and created images which were associated to their professions rather than their environment. How I want to be: Most of the images reflected their aesthetic aspirations. How I don't want to be: The images were opposite to the previous ones, showing, once again a preoccupation with physical appearance. How I am: These images were basically connected to their state of mind. There seemed to be general consensus and a group image was constructed.

After showing the images we went straight to the circle as time was getting late and the group needed to express themselves verbally.

Circle The participants were obviously in good spirits and relaxed, and their choice of number had increased.

77

We suggested that they think of situations which created oppression. First indivirlually ancl then in groups, which would then decide on a joint theme. The participants created three groups r,vho each presented very exilressive image, We then suggested a game of their choice which r'vas the Knot game. Everyone enjoyecl this enormously.

Session 2 Circle The session once again started an hour late, ciue to some of the participants being delayed. People in general looked tired, but not as much as at the start of the previous session as everyone, lvith the exception of one person rvho classrfied themselves as zero, had enjoyed the workshop.

Games Mad Chicken: Everyone took part but did not explore the game to its 1u11. Three Amigos: This

r.vas

greeted with

enthusiasm and the participants had great fun.

Explaining Forum Theatre The group listened attentively to our explanation of the methodology and ob.jectives of F-orum Theatre. We sr-rggested that the participants should prepare the fbrum, based on their images created dr-u'ing the previous day.

Forum l. This transmitted a very strong lnessage of domestic violence. The protagonist rvas an alcoholic husband and father. The actor rvas faithful to the characteristics of alcoholism and the situation of oppression rr,,as visible and clearly understood.

Forum 2. A situation in a tax offlce. ln this scenario the taxpayers were the oppressed characters rvho r.vere dependant upon the good will of the tax officers.

Forum 3. Domestic violence. This scenario was not presented very ciearly as the participants were too enthusiastic and lost the structure ol the story. This resulted in some confusion and ntade the situation rather rnuclciled

Jokered Forum The participants presentecl ii self-confident piece around the first forum. There r,vere many interventions arouncl the action and the possible thor-rghts of the players - their perspectives and motivation, anti it goocl group cliscussion ensued. There rvas Itot a consensus hor.vever. On reflection, we thought that prior to the shorving ol'the jokerecl forum, we should have crezrted a ner,v situation set in a previous time, lvhicl'r could have clarified the story and

78

explained the causes of the initial problem. This could also have presented the opportunity for further interventions and solutions' During this jokered forum, the actors and spect-actors interacted, sttpped the actiori and questioned, and made analogies rvith personal experiences. This seemed to us significantly positive, in spite of our failure to accomplish the right conditions for a jokered forum. we felt thai this demonstrated that it r,vas important for the group to continue this work.

Closing Circle There was a signif,cant change in the state of mind of the group. They expressed their satisfaction for having parlicipated in this experience, and spoke of the need to repeat this type of

initiative.

Final Game of Your Choice Game of the ball of wool: The ball was uncurled and passed from hand to hand, each one praising the person to whom it was passed. The ball was then cut, so each person could keep a piece as a reminder of the workshop. It was interesting to note that the pairs who had worked with each other in the games and image making sessions, sat side by

side.

General Notes In spite of the fact that the group had not understood clearly rvhat they were going to do, they were positively surprised by the work which had created a lot of interest and enthusiasm. The g.*p *u. clynamic and interacted easily. The interventions worked well and answered many questions ancl neecls.

The downside was that many of the group were very busy, rvhich caused several of them to always arrive late, in spite their strong intel'est. The script for the Forum Theatre arived in a very busy period in terms of r,vork, followed by a time when the group was occupied with Christmas. It was difficult to complete the sessions before the end of the year.

The incompatible timetables of the jokers and the group also contributed to make the work difficult to schedule.

This type of work is very motivating and interesting for the jokers as lvell as for the grollps and is a good starting point for better self-understanding. It can generate change of attitudes and behaviors anci * *uny people lead isolated lives, this type of intervention is essential for improving communication.

We felt that it was fundamental to facilitate this work and to complete the training.

It lvas very tiri,g and rve fought a little against the clock, because our timetables were very different. This made tG organisation of the sessions and the reflection afterwards, somewhat difficult. It was important to experience being joker a and to have the opportunity to practice what we have learnt, always being arvare that the unexpected is a constant and that flexibility is pierequisite.

Isabel Leal, Isabel Moreira

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Romania Forum Theatre Caravan

' r' i I i i !i i I I i I I I I I

1 I I 1 I I

In September 2004, CONCEPT F'oundation and Dramafest Foundation ran a Forum Theatre caravan as part of a larger project flnanced by the European Union, through Civil Society 2OOl Programme 3rd component: 'Civrc Education.

Independent Mass Media' and CONCEPT Foundation. Together with our pafiners, Transparency International Romania, Online Press Editors Association, Cable Communications Association, Oops Media and Ariel Chilclren and YSuth Theatre Targu Mures, we developed the DO NOT BRIBE campaign, rhe first national campaign for promoting a civic behaviour of recognizing and rejecting small corruption.

Background: The numerous cases recorded by the media, as rvell as our daily experience, strengthen the idea that bribing is a phenomenon. Moreover, the latest stuclies on corruption are warning us that the bribe has become indispensable:

' ' o

867a of the Romanians believe that they live in a state that is becoming more and more corrupt (GfK Research The Corruption Climate in Romania, April 2004); 33Vo of Romanians consider that bribery is a natural aspect of life (GfK Research The Coruption Climare in Romania, April 2004); Romanians think that the most corrupted professional sector is Health. 35o/obelievethat this is ' the sector in which one is most iikely to encounter bribery, the next being the Justice system (Z5Io), Police (157o),Administration (12Vo), and, on the sixth place Eclucation, with2To (GfK Research The Corruption Climate in Romania, April 2004); In 2001, 88Vo of the young people considered that corruption was one of the most ' stringent problems they were confronted with. (The Centre fbr Study and Research on youth Problems, Survey, 2001).

"Cgrrlntion is one of the nrcst severe problems Romania has to deal with in its efforts to bttilcl a moture cleruocracy ot.td a fiutctional econonty. Corruption mdermines the resistance structLtre of the society.

It is suclt a v,ide ly spre ctcl Pltettoru.enon that not on.ly the g,overnnrent's e.f/orts are needed, btt also those of the entire civil society. If this pro.ject str_cceetls, corruption will no longer enioy the cooperation of the citiz.ens. We wish thi,s cam.paign cL lot of succ:es,s!"

Anne de Ligne, Head of Phare Section (Justice and Home Affairs, Social Sector and Civil Society) in the Yry DeleSation of European Commission in Romania.

I

project aimed to develop a civic education campaign forunderstanding and iclentifying small corruption activities, I th. tor stimulating the citizens to reflect upon them, to lead to a civic behaviour of rejecting them, and alsoio encourage I the involventent of the mass media in promoting the civic values and practices by rneans of investigating small I --orruption situations. This campaign mainly addresses youngsters between 15 25 years old, from urban | -

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environments, \.vho are affected by the phenomenon both at a personal and social group level.

objectives:

o to infbnn and draw the attention of the population between I5 and 25 years old to small conuption and on the benefits of a civic behaviour of identiflcation and rejection towards it. to encoLlrage the local and central media journalists to get involved in promoting the civic practices by reporting small comrption cases and developing articles that signal examples of civic behavior of rejecting small corruption. Also to inform the journalists of the way young people perceive small corruption and on the costs it involves at a householci level. to inform the representatives ofprofessional associations who are active in areas that are frequently associated with small corruption (Health, Education, Justice) of the way young people perceive small comrption and of the costs it involves at a household level.

Target groups: young people between 15 and 25 years old. representatives ofprofessional associations from areas that are frequently associated rvith srnall corruption. local and central media journalists.

As well as forum theatre perfonnances in 13 cities, the campaign includecl media, poster and internet activities; publi; debates; and competitions on the central theme. It also included an evaluation study on the cost of petty comuption ar " household level.

Funders: European Union, through Phare Civil Society 2001 Program - 3rd component: Civic Education. lndependenr Mass Media. CONCEPT Foundation Focus on the Forum Theatre caravan: We planned to organise Forum Theatre performances in 13 cities: Constanta, Braila, Galati, Iasi, Brasov, Sibiu, Cluj-Napoca, Timisoara, Ploiesti, Pitesti, Craiova, Targu Mures and Bucharest. In order to achieve this aim we chose to rvork together rvith Ariel Theatre for Children and Youth, which is not only a successfui youth theatre, but also the host institutiorr of the Dramafest Foundation. It was a wise decision, considering that its team is composed not only of very good theatre artists but also of skilled Forum Theatre facilitators (some of them, as members of the Dramafest

Foundation, took part in a {ive module international training, namely ECU-Net Project).

Ariel Children and Youth Theatre approached the theme of small conuption by means of Forum Theatre performances based on daily life facts, which require the active intervention of the public in order to solve the problem. The performances were meant to underline the implications of smali corruption and the lvay it affects both individuals and communiry.

Making of the Performance The creators of the performance are the actors Monica Ristea-Horga, Rudolf Moca, Adrian Brandus (Forum Theatre facilitator) and Viorel Meraru (Forum Theatre facilitator), who r,vorked under the guidance of the clirector Gavril

82

Cadariu (Forum Theatre facilitator) and the psychologist Elena Micheu (Forum Theatre lacilitator).

Anca Rotescu rvas a worthy consultant, in her multiple positions: as a theatre critic, as a participatory arts project coordinator, as a participant in several of the Forum Theatre trainings we already mentioned, and, most of ull, u, a person close to the group. Gavril Cadariu took the responsibility of being a joker and he was assisted

by Elena Micheu.

During the first lvorking sessiotrs, our priorities were physical exercises, gathering information about the entire campaign, studying the materials offered by the organisers, consulting the small corruption cases related by local journalists, as well as sharing individual experiences related to this subject: from bribe at the frontier. to drivers, licence tests or getting a promotion at rvork. F'inally, afier frienclly but passionate debtrtes, the members of the eroup agreed on the script of the theme which was decided to be coruption in the Health sector.

The structure of the perfbrmance was elaborated on clear, comprehensible ancl concrete guiclelines:

Institution: Public Health Sector, Case (small coruption reason): treatment and ambulatory hospitalising. Environment (character's place of residence): urban. Social status: middle class.

Ethnicity: Romanian We tried to be as realistic as possible and no fictional element was introduced in the theatrical approach to the subject.

The characters must be recognisable in order to lead the public tor,vards an honest and constructive debate. Due to the target audience's features, the main character of the Forum Theatre performance is a yourrt person whose age is around 20.

The basic formula underr,vent several variations, taking into account local colour, concrete cases signaled by

joumalists in local media, as well as case studies that underlinecl clifferences between cities and cultural areas. etnphasising orally transmitted social reflexes that are connectecl to the principles promoted in the tamily and community. Although the rural population was not taken into account, r,ve considered the ditl'erences between urban and rural attitudes towards bribery. The chosen theme also hatl the advantage of a certain degree of generality, r,vhich facilitates the appearance of other examples, as rvell as the possibility to extrapolate the causes, efTects and solutions as a rvhole. The performance \,vas called "The Sore Spot", a phrase which, in .R.omanian, besides its proper significance, also hints at there is "something rotten in the state of Denmark"...

Finally, we agreed on the following statement of our rvork:

"Relying on its artistic experience, but also on the fact that some of its members are Forum Theatre tacilitators, the team approaches the small corruption theme through its specific methods. Forur.n Theatre is a nerv ancl efficient means of communication, an attractive method of raising the public's awareness towards a subject and involving it in debates that emphasise the complexity of the phenomenon's implications ancl effects. The Forurn Theatre session.s wc propose are based on daily life scenes and aim at reaching the level of contextualising the phenorlenon, its various consequences, regarding both the life of the individual and of the community.

In order to create a trend of opinion able to trigger a stagnation or at least tr climinution of this social scourge, our Forum Theatre performance needs to reach as many aspects ztnd characteristics of small corruption as possible. We

83

rvill not faii to consider the fact that bribery leads to even worse forms of devlation fiom civilised and democratic conduct, such as abuse of authority or ma.ior corruption cases."

The route ol the CARAVAN The caravan set off on a sunny Septernber day, having aboard campaign organisers as well as a consolidated Forunl Theatre team, joined by Anda Moldovan (interviewer) and Ciaudia Chibelean (press assistant). organised before every performance. Representatives of CONCEPT Foundation, Transparency International Romania ancl Ariel Theatre informed the media and local authorities of the DO NOT BRIBE campaign.The organisers also offered data concerning the Forum Theatre sessiot.ts.

A press conference

r,vas

The numerons features in the media represent a testimony on the way things developed, on horv they were perceiveil and understood. We illustrate this rvith a quote from an article in a cr,rltural magazine: ) One Saturday evening, in the house of Popescu family, rvhile skimming the paper, the father of a 17 year old teenrlger learns that his son. Adrian, is limping. Although Adrian says thirt it's nothing but a sore point and going to th= hospital is untrecessary, after all, 23.00 on a Saturday night isn't the best time lor a trip. The fiither beconles restless antl calls the family cloctor. The liitter is at a wedding. Therefore, in great need of sonteone competent that could solr; (.

.

.

ThenurseNuti.sendshimtothehospitalto hisproblem,thefathercallsoneofhiscontactpersonsinthehospital. see the nurse At1isoara. This is the beginning of a rvhole adventure. The bribe itinerary has be-tun ! In order to enter the hospital, they have to pass through the -qate. The first person they are confronted rvith is the jarnitor. He is the first to collect a tax. Othenvise. he wouldn't letAdrian and his father in. Harving entered the hospital, the lifi-lady, rvho is knitting, is the next person to play the honest employee. And she does play it rvell, until it comes to the money. After receiving from Popescu senior a certain amount of money, she leaves her honesty aside for a r.vhile and takes them rvith the litt to the fifih floor. Arriving, Iinally, at Mrs. Anisoara, they believe that their problem will be solvecl by the Professor Doctor. But nurse Anisoara's shift is over; the reason she hasn't left yet is because she is rvatching her flvorite soap opera. She is rvaiting to see tf the two protagonists get mermied or not in the end. Of course she collects her orvn tax, fbr simply talking to the father and son and fbr sending the latter at the laboratory to do some tests. It is r: the laboratory rvhere we meet hospital attenclant Daniela, the only one to refuse Adrian's father r'vhen he off-ers her tr coltbe pack. "You're ofl'ending me.lt is my duty to make these tests!". "It's late at night. you must be tired, you coulci use a cup of cofl'ee." "Please don't. you're offending me." Feeling quite vexed, the lather takes his cofl-ee pack and rvaits fbr the boy's test results. After they're done, Adrian ancl his father return to the lifih floor, to rvait fbl the Prof'essor rvho has just finished a surgery operation. Talking to a patient, the father finds out that the itmount of uroner he is rvilling to pay is not enough tbr the doctor, even if the teenager's problern is a mere sore point. This time. the nurse Anisoara asks the boy to go in alone. But she also asks him to empty his pockets on the table, in order to take the bribe rvithoLrt the boy knorving he's giving it.

The performance was rervarded rvith many lounds of applause and the young public lvere invited to act. The

84

spect-actors all came to the conclusion that for a simple boil, one mustn't really go to the hospital on a Saturday night, at 23 '00 ' The only legitimate way of solving this problem is going to the Emergency Room, ,rrourJ u"cessed directly, not through detours. Additionally, the teenager is 17 yeais old, and at ;his age, he could take the problem in his own hands and go to the hospital alone, not with his father.

The performance is a pretext for stimulating some debates and for looking, and possibly finding solutions for solving the situation. (...) MTHALEAFULGEANU-MATEI Arges, monthly cultural magazine,lssue 10, october 2004

*6"t

i"

During the campaign

*

DO NOT BRIBE caravan reached the city of Cluj-Napoca on the 10'h of September ZOO4.

Due to the sunny weather, the performance The Sore Spot became an Invisible Theatre scene, which took place in Unirii place.

The website www.nudaspaga.ro rvas attacked by hackers during the campaign.

*

lmpact Analysis: Quantitative Evaluation The DO NOT BRIBE caravan was organized in 12 cities from the country and in Bucharest.

More than 3.200 persons attended the Forum Theatre sessions (youngsters, media representatives, officials, representatives of professional associations). Forum Theatre sessions involved two actors lvho hadn't previously lived this experience. Additio,ally, 2 more performances were organised in the cities of Brasov (2nd of November zoo+7 anacluj-Napoca (gth of November 2004). Informational leaflets developed within the framework of the project were distributed in all 13 cities; they were requested by the public especially at the end of the Forum Theatre sessions.

Performance duration:40 minutes (7 scenes / performance). Debate duration: on the average - 120 minutes i debate.

Qualitative Evaluation Interventions:

1

98 (spect-actors)

Frequently Asked / Answered Questions: t a

a a

a a a a

a a a

What is / what is not bribery?

When and where does it appear?

Why (not) bribe?

Which are the ways to avoid offering bribe?

Why receive bribe?

How do I feel when I try to bribe someone?

How do I feel when I am bribed?

Does bribery lead to a healthier world?

Is bribery necessary?

What should I do to stop small coruption?

Can bribery be prohibited?

85

Identifying problems/Raising awareness (specifi ed): The contents of the perfbrmance were relevant due to the participants' experiences, the theme is recognisable and ther.

arerrequen"""l.."ii$j#,:ilffi:$,nliiffi

#*.#dill-*-sk.rs.cama.n Bribery is identilled with the only means of communication between the beneficiaries and the Health system

Resistance (specified) In many cases one has to face protection mechanisms such as refusai, negation, minimising or rationalising the theme.

Most of the cases are recorded among people who are at the upper limit of the age interval (over 30).

For the yollng people in the target-audience, identifying the bribe is not a problem. But their questions relate to the rvay they should react when asked to give bribe. Exploring other behaviour models besides the one of giving bribes also raises lots of questions. The defense mechanisms appear only at a first contact lvith the ptrrental or institutional authority.

Protagonist identification By means of recording the affection of the public torvards one of the characters, socio-grams indicate that the protagonist is, in this case, the young person (Adrian), who has to deal with a meclical issue and has to choose between the option of following the path recommended by the adults that surround him - r.vho only know one way of solving his problem - and the option of finding other solutions.

Antagonist identif ication The public's priorities, expressed through affection or rejection attitudes torvards the other characters, the antagonists lvho stand out are the father and the nurse, as they are identified with porverful oppression elements.

The ability of verbal differentiation: This refers to verbal communication, the ability to express one's emotional experiences and their cognitive content, as rvell as the ability to express adequately the content of diflerent parts played in the perfbrmance. This is equally reflected in the feedback, respectively in the public's agreement or disagreement concerning the character's actions.

Key elements in optimisine"tffff,:";;11#3.;':, communication of the spect-actors:

.

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Adaptation of the theme to the interest areas of the target audience

:

parts Il:T::ffil.'ln1ii'],-,u***,,s The spect-actors' ability to transpose in the given part,

preserving their motivation and the

i"'*i,l;1}ii:$:;il{i::l::,if The joker's multiple role as ai:#;#,::"" leader, analyst, changing factor, facilitator and guide of the spect-actors in their exploration of causes, effects and solutions in structuring the action Adapting group facilitating techniques by means of active listening, paraphrase and summarising, as well as effective management of the discussion flow Facilitating the Forum Theatre session in the direction of developing a positive group dynam-

ic for rhe public

Categorising the type of intervention/ finding solutions We identifled the following types of intervention, finalized in attitude and action models for the protagonist.

The identification was made by means of the public's direct involvement and by replacing the piotagJnist:

' . ' ' '

Revolting against bribery (bribery is theft, it is not profitable, it is not correct) Replacing bribery with social rewards Refusal to offer bribery, to be subject to the pressure ofthe system Drawing the attention of the institutions authorised to sanction persons who demand bribes Assuming the responsibility of our own decisions and behaviours Developing the ability to communicate with different types of authorities Education and Information on citizen's rights

Actor Feedback "We perceived a young public, full of life, willing to fight and find anti-bribe solutions. We felt a coalition of young people's endeavors to fight bribery through information, education, attitude, involvement... After every perfoimance, we felt assured that this campaign is more than useful, and so is this kind of debate." Rudi Moca, actor (ianitor and Patient).

"It is a great reward for an actor to see that what he's doing is appreciated and understood by young people. What we did incited them to talk about this subject. Acting as the Father, I was always willing to rebuild and acr again in the scenes involving me and my son, whom I am explicitly teaching how to offer bribe.. . As a father, I f'elt bad to be disdained by the public, but as an actor it was a great experience. I want some more of that!" Viorel Meraru, actor (the Father).

"The young people in the public are beautiful, bright and they can build great speeches!ll A touching moment for me: a young girl admitted fiankly: I HAVE OF'FERED A BRIBEI, of course, following her

87

parents' educational advice ! The performance was really good, and the energetic exchange between the public, joker and actors functioned perfectly..." Monica Ristea-Horga, actress (The Nurse, Adviser, Lift lady, Honest Hospital Attendant).

Participant Feedback

"It

is high time we avoided bribery, the mistakes of our parents and of those who urge us to offer bribery. Everyone is important in this fight and it is essential that we preserve a moral attitude. When we are happy with someone's services we should relvard that person in a less offending manner, that doesn't imply a favour. This would be a good alternatir e to offering a bribe. And, of course, we can smile and thank people more often; it helps more than money!"

PopaAura, 19 years old

"I

thought that the scene was very lvell done and thought-provoking. I was very hoppy to see Romanians addressing serious problems that they face in their society. My desired solution for the play was that everyone would decide that the system of "qpagd " doesn't really benefit anyone. That even the doctor at some point will need a passport or some official document and she will be the victim of the same problem she promotes anyway. I could talk about this forever. Thank you very much and good luck with your project."

Erin Marie Osner, Peace Corps Volunteer, 28 years old a bribe is guiltier than the one who receives it. Everybody is accusing the ones who receive forget about those who offer it and who bring fresh supplies to the corrupted systems. If this ceased, bribes, but they maybe corruption would also end. Lots of people will say "It's the only way of surviving", but there are institutions such as The National Anti-Corruption Prosecutor's Office that are able to extinguish this phenomenon. lf rve, the ones that are willing to offer bribe, change, then the corruptible ones will also cease to act immorally."

"The man who offers

Ciprian, 19 years old The group of volunteers from Radu Negru High school took part with a large number of spect-actors in the play. They were impressed with the answers they found by participating in this Forum Theatre experience and decided to promote the event among their colleagues in the city of Galali.

Anca Rotescu, Oana Mateescu, Anda Moldovan, Lucian Branea (CONCEPT Foundation) Elena Micheu, Gavril Cadariu, Adrian Brandus, Viorel Meraru (DRAMAFEST Foundation)

88

Ref lecting

89

Epiphany

From all the work and practice that was done, one really unique and complex form came out as a result: "A-FtrruM Theatre". It was everything that Forum theatre shouldn't be. Great success ! It lvas still at the time when rr'e n a put theory into practice by working from 'the book'. If it's the model for the workshop of forurn theatre, then ,;,r it in exactly the way it's planned on paper. It's always easier to believe in someone else than in yourself. when iw starting out. It was practice, and it was a challenge just waiting for us. The first challenge and flrst mistake rr as iix University of Dramatic Arts, Belgrade. We thought, "It's ok, people won't come to these workshops". Horverer- fu first session saw the biggest turnout so far.

Everything was fine until the moment when participants voted for one of the scenes which they wanted to be f My colleague Aleksandra and I r.vere standing with eyes full of questions, horified. This was the point lvhen u'e for sure that we made a mistake in our work, because the scene that participants had voted for rvas the most absuaa of all. This didn't mean that others were concrete, but I think that both of us were concentrating really hard durins voting not to think "what's going to happened if they choose..." the one that they have chosen. We couldn't sa]' nc. even if we wanted to. The scene started. Two young men played a scene about false and abstract performing, abou: false art. The scene was their interpretation of a performance that is treated like art, just because people who are presenting it know how to make it mysterious enough so people can't say it is meaningless, because they're afraid will be the only one who didn't understand.

Aleksandra and I were standing at two different sides of the space, in a state of panic, the alarm inside had not turne.i off yet, but the brain was saying: "Follow the procedure, follow the procedure". So the scene started again, and rl'e explained that now the spectactors should make suggestions to change it. Everything they tried to do was from their seats. They tried to act as an audience that came to this meaningless performance, and instead of clapping really harC as the sign of approval they voiced theil disapproval loudly. We tried to make this story more realistic and more personal, but everything that lve tried to do went nowhere. We spent the whole time in a state of shock. We tried to make this scene more meaningful and closer to life but we didn't succeed in this, because all the time we were terrified, just waiting for the end, instead of dealing with it. My thoughts were focused on mistakes, thinking about all the scenes that I had seen until then. This was so stressful that I couldn't concentrate on the scene that was in fronr of me. If we hadn't been so terrified, maybe we could have done something with it. If this kind of situation happens today, we knorv how to deal with it, because of this experience.

We decided to continue rvith r,vork on an example of a realistic story even if it wasn't in our plan. This was the moment when we realised that it's impossible to work in the way somebody else planned, because every group has its own tinting and needs. There has to be spontaneity in the workshop to go in directions that you didn't expect, and this

90

- .. d) in rvhich participants have the opportunity to express themselves. Suddenly all of the pa(icipants were it, they couldn't wait for comments, they were just going in, without raising - - ::\ rng "Stop". This meant that finally we could relax a linle bit because our main goal was to show them at -; :art of rvhat we were experiencing in our seminars with Forum Theatre.

"i , - , :le scene, they were changing

--

-- circle with them, Aleksandra and I told them that we hadn't succeeded in what we were planning to do, and

. u'orkshop we talked for hours about all the mistakes that we had made, and the many things that we could :.c differently. However we were glad we had done this work in spite of all our fears. Later we could be proud

:-.-.ush this workshop was something that looked like a failure, we actually learned so many things from it. ."

-

',

e look from this perspective, we would never skip this experience, although during that workshop u here else but in that situation, I wished that I could just escape, without looking back.

I wished I

almost a light between the specactors because of their differing opinions. They started to judge each other's actions and involvement. They began to judge whether parents would act like that in life, and some of them couldn't move from their subjective way of looking at things. They were saying, "My parents would never act iike that...". For some of them it rvas really hard to see beyond their experience, which was a problem, since they rvoulcln't even liste: to any explanations or other people's experiences. We were amazedby this levei of participation, but at the same tin-.--. confused rvith what to do r,vith the little groups of people confi'onting each other.

We tried to direct them in a constructive way, but again 'rve werc too confusecl to be iible to organise the situation, rvhich r,vas anyway too hard to control. Some of the time we let them see r.vhtrt r.vas going to happen and some of the time we tried to create kind of a path tor'vards finding diff-erent solutions. But in spite of this, the spectactors stayed more focused on the details of the story, concentrating on criticising tire parents and their i,vishes to change them.

Somehorv the thing that was happening inside the scene was happening outsicie as well. E,veryone fbrgot about the girl and her feelings, and stayed focused on those who 'uvere guilty. So. one of the girls fiom the scene who was playing the mother, raised her hand determined to say something. We allotved it, even though lve usually clon't eillou characters to speak, unless fbr'stop think'rehearsal practice. She said that it r,vas somehorv her story, since she hacl trvo fiiends that were in the situation like the one in the scene. This gave it a totally new perspective. The spectactors realised that this was something real that r'vas happening, not jLrst some creation that afternoon in the workshop. This change was visible, and people started to go in, and tried to help the girl. There rvere many interventions, and as the scene continued different feelings became apparent and it seerled like everyone had needed to say what they thought.

It was progress because obvioLrsiy this made them think, but in the sense of understanding the forum theatre, this r'vasn't really the goal that lve'uvanted to reach. Most of thern stuck to their orvn opinion, not really communicating or listening to other points of vier'v, just thinking subjectively. It just a scratch on the surface of tiris bigger issue. "vas

What we realised after the rvorkshop was that this outcome was the only thing possible fi'om the beginning, because i:. that moment, for them, it was important to have an opinion, more important than to listen to the others, or to us. We tried to give them a greater understanding of how many diverse opinions there are, and hor,v rnany different subjectir e visions are true for each person. The aim is to emerge fiom these closed subjective visions and try to move towards the objective. It's a step towards real understanding of people, lvhich i.vouid probably solve many things in this rvorld.

This really sounds like an idealistic vision, and I think that's probably why lve had these anxious f'eelings about the rvclrkshops that didn't go totally in the direction that we planned, and resulted in outcomes lvhich lvere not as lve had hoped fbr. The thing is to come to a state where you literally dive into the ocean of untarniliar things. You overcorne this lirst fear of the unknor'vn, and then start with giving to other people rvhatever you can in that moment, rvithout anr acting, or disguised in the character of someone lvho "knows the things". You learn each day. that every workshop is a step to\'vards some nerv experience. For me now, it is not the question of rnaking some structure in my rrind lvhich lvould lead the process for other people, but always a combination of feeling and rational thinking, alrvays torvards exploration. Even if we ftriled sometimes, there are no rules in rvhat you do, because you can never anticiparte rvho is going to come to your workshop or r.vith rvhat kind of an experience, or subjective vision. So, allvays stay open, listen and follorv these subtle movements among the participants.

Jeiena Vuksanovic. Cedium, Belgrade, Serbia

92 i I I I I I I

l/

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Jokers: Aleksandra Markovic, lvana Joksimovic, Jelena Vuksanovic

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Overcoming the Oppressive Joker or The moment I became Joker Beingaforumtheatrejoker,apersonresponsiblefbrmediationbetweentheactorsandthespecta(c)torsinfrndr:.:.-, solutions that will alleviate the oppression, one can easily fall into the trap of becoming a joker-oppressor him he :..

What do I mean by an 'oppressive.joker'? It is a kind of joker that has one or several preconceived answers or scllutions for alleviating the oppression presented in the forum piece. And even more, he/she is insisting on these solutions and is leading the audience torvards these, neglecting at the same time the natural rhythm and the r,va1 rh.; the audience is thinking/reasoning, often judging the solutions proposed by the audience as 'good ones' or 'bad on=, Thiskindofjokerhasastrongneedtohave,atalltimes,thecontrolovertheaudience'sr,vayofthinkingandreaer.: and this cclntrol is rigid in most of the cases. This kind of jokering appears particularly in cases when one is a youn: and inexperienced forum theatre practitioner.

Although it may sound like that, I don't mean to be judgemental, not at all. I can understand that this can happen ., . result of having a huge sense of responsibility towards one's lvork as a forum theatre practitioner. It can also be a re., of an idealistic sense of justice and the zeal to beat up evil and prejudice in the r.vorld using forum theatre as a me; to do this. In most of the cases practitioners' motives are noble and r.vorthy of respect. I am also conscious that thr: probably, for many practitioners, an inevitable stage of their growth and maturity, however at the same time, I flrr o\\ .r: that this is not the proper I,vay to joker. :

At the time of my training to become a forum theatre practitioner, my biggest concern, which was secret one, of coui:: was not to become an oppressive joker, and this concern, fear almost, was not without fbundation. I knew myself - ::-_ character and temper was often impulsive and although I tried to control it in different life situations, I could iose rnY t.:. pretty easily. Also, in my normal, everyday reality working as a manager,I am often in a position to lead, rvhich in r:'-, practice often means a leader of opinion and a problem solver, so it comes to me naturally to direct people in solving problems, directions that they expect me to give. This position implies the need to have and maintain cont;' overarangeof situatior-rs. Addedtothis,allmylifeIhavebeenadesperateseekernnclfighterforjustice. So,inr:-,, own eyes, I was fulfllling all the criteria to be eligible to become an oppressive joker and rny f-ear had real foundatio:.

At the siime time, I have the blessing, ',vhich is also often a curse, of being too self critical and analytical along rvith t1-.. capacity of thinking ahead.

These two opposing positions r,vere struggling in me during my forum theatre training, and this inner conflict lvas preventing me for a long period, from plucking up the courage and taking the decision to have a go as a joker. ln fact. during one of the training sessions, I once tried co-jokering with my f-ellor.v-trainee, but I rvas deeply unsatisfred ,.vith thoutcome. Otherwise I enjoyed immensely the forum training and lvas alr,vays deeply involvecl, but I always chose role. other than the joker in different forum pieces, those of oppressor or victim/protagonist or specta(c)tor. Horvever, I f'el. strongly that I shoulcl not delay much longer in making this decision. Atter all, my main goal fbr attending the fbrun

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i

theatre training was eventually to become a forum theatre with the group before the training programme was over.

joker. I knew that it

r.vas

very important to do real jokering

So, eventually the moment came. During the last follow-up training session in Ohrid, Macedonia, I was suddeniy put into a position to become a joker. This rvas to be not only rvith my colleagues/fellow trainees, but also in front of some

professors, who were attending another seminar that was taking place in the same hotel as our training, and lvho had been invited to our presentation. I don't knorv exactly hor.v it happened that I ended up there being a joker. Of course, I had really wanted this to happen for several months before the session in Ohrid took place. In a way, i had been psychologically preparing for such a possibility, but one part of me was also terrified and was resisting it. Actors will recognise this duality, I am sure it is the same conflict an actor has before stepping out to the stage to perform. I remember that I didn't ask to joker the piece. Someone asked if anyone was rvilling to be the joker. Then I was asked if I wanted to do it, and I took it on. I don't remember exactly the tbrum piece. I remember that it r,vas about bullying at school, but I don't recall all the details. In this story, it doesn't reaiiy matter.

At llrst,

as the piece was performed and the story established, I had the assistance of a colleague of mine, so I had support in the 'ice-breaking'. Right after that, I took over spontaneously. The audience rvas full of comments, questions and propositions about the piece - of course. There were so many of these that I would normally have a problem in

lbllowing them all but not this time. For the flrst time in my lif'e I mindfully gave myself the fieedom to stand in fionr of a group of people who are seeking solutions to a problem, without having the urge to come up immediately rvith my own solution. And I rvas O.K. lvith this. At that moment I realised that sometimes, in sorne life situations I can be a very arrogant person, thinking that I always have the best solutions. Also, for the first time in my lif'e, I resisted the automatic, involuntary, habitual reaction to panic when confronted with a situation r.vhere I can't see the direction of clevelopment.

As a result, I found myself releasing a resistance, which usually appears, to the ideas of mine or of other people. I r.vas saying "yes" to the ideas and comments coming from the audience. I f'elt this newly gained openness in my body immediately. My consciousness at that moment was so strong and intense that I could follow the audience, take an active part in moderating the conversations and actions, and at the same time observe the reactions of my or,vn body and mind. My body became more open and soft, active ancl relaxed at the same time. I had full control over my breathing and my nervous system. I was also monitoring the appearance of any tension - physical, mental or emotional, and found I could release it at the moment it appeared. The forum went beautifully. Several really effective and functional interventions were tried out. Everyone was so engaged rvith the issues it was rvonderful exchange of icleas and opinions.

The satisfaction that I got out of this experience was not a "Yes, I made itl" kind, not at all. It was not the satisfaction of being successful in something. It was something much deeper and more profound. It was a kind of experience that brings a new, extra quality into your life, an experience that transforms you. During this jokering I experienced one of the strongest and most intense moments of presence and power that I ever had in my lif'e up to this moment. Hor,vever this experience was unique because it wasn't just one glimpse and it didn't come out of the blue. Sontehow subliminaliy, one part of me chose it and one part of me enabled it to happen. But, this present moment was not something I won once and for all. I have to go and work fbr it anew each time. There's the fun of it, you never fail into a routine. I clon't say that I am always successful, but still there is great fulfilment and something new to be learned each time.

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Going back to the opening of my story about the oppressive joker, as a normal human being you have an opinion aho:u the forum theatre piece that you are jokering, and as a creative person of course, you have one or several ideas as to h.''in the presented oppression can be dealt with and be alleviated. That is not the way. When the audience have came up \\r:a and tried out all their solutions, and it is evident and clear that none of these is as functional and effective as the 03 that you have, you are obliged to share your solution(s) with the people! That's not the way either. My point is uhrc you must be conscious of your role as a forum theatre joker. You must first of all establish and maintain the subtle an: fluid balance within yourself, a balance between the need to lead the process and control the audience and the nee,l :: surrender to it. You must be ethical and you must never abuse this position in any way. After all, forum theatre is aL'o:r empowering the specta(c)tors and sholving them how they can avoid or overcome the position of victim, it is not abt.'-u empowering your own ego.

Jasmina Bilobik, Media Artes, Macedonia

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,/

/'

The Sustainable Joker Where lies/which is the genuine sustainability of forum theatre practice?

When rve speak about sustainability, we share an uncomfortable position because of the fear of facing the responsibility tolvards the continuity and stability of our project or initiative. In order to protect ourselves fiom a possible discontinuity, which emphasises our fear, we create concepts that are meant to provide us with correct directions for sustaining the work that we have already started. Each concept is not eternal, but a priory which is condemned to impermanence because of the universal entropy of power. The concept itself represents just a construction that tends to stabilise the natural trend of events. Such a construction tends to correct a certain cleviant course in this trend of events, caused by the 'civilised' way of living, which in itself is artificial and strained.

The omnipresent dichotomy between nature and the civilised way of living results in the deviant trend of events. The concept and the civilised way of living are energies of a same character. T'heir clash will not bring a synergy. The best way therefbre, is to invest in the individual.

T'he human being has been developing through different systems or sets of values, which have influenced and shaped

attitudes and relationships towards the environment and towards each other. This relationship between the inner and outer world of the contemporary human being, is based on the values fiom the conviction in diff-erent concepts, rvhich

produces damage in the perception of the individual. This human being rvho is convinced of the inclividual and collective 'genuine values', has createcl a house of sand. This 'home' reflects a world of anomalies. The contents of this mis-shapen world such as iritation, intolerance, impatience, antipathy, aversion, antagonism, envy, pride, selfishness, destructivity etc. are derived from a conviction in those habits, which are a result of the worlci of anomalies and the creation of the personal space we call EGO. The space when each thought absorbs your attention completely. It means you identify r,vith the voice in your head. Thought then becomes invested r,vith a sense of self.

This is the EGO, a mind-mode 'me'.

''When you recognise that there is a voice in your head that pretends to be you and never stops speaking, you are answering out of your unconscious identification with a stream of thinking. When you notice that voice you realise that rvho yor"r are is not the voice. the thinker, but the one rvho is aware of it." r

We become crucifled between the two lvorlds, the constructed one, baseci upon our habits and ideas, and the essential one which is beyond the capacity of the rational mind. In order to overcome this crucifixion between the trvo r.vorlcls. stillness speaks, page 29 Eckhart Tolle. Published by Hoder and stoughton, 2003

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it is very important to make distinction between the falsely formed lvorid of ego, and the real/true world, lvhich ar :point is invisible, hidden by old habits.

.

Forum Theatre, despite the fact that it is a kind of concept, or it has the tendency to be one, gives us the opportunirr for flnding different solutions to existing problems. It touches the rvorld of pain, ancl through interaction, it allo* s *. to overcome the dualistic notion of good or bad. It makes it possible for us to overcome the olcl ego habits. It creat:. a base, a real platform for self-realisation. When cognition is reached, we are not anymore consumed by thoughts r,. horv to sustain the ',vork, because we are now rooted in a flrm foundation rvhich is sustainable up to the point of natu- decomposition. If too much space is given to the ego within the working progress, the direction can be easily lost within the constructed illusion, and there will be no real effect from that work.

I suppose that each forum theatre practitioner dreams of creating a team rvhich lvill be one hundred per cent dedicateto the idea and task of fbrum. A task that will analyse the needs of the people in the social environment, 'beneficiane . in the formal language of the donors, and for whom the team will be working in order to create perfect conditions \\ r.sufficient money that will last forever. I do not think that the material resources issue is the essence of the sustainability of the lvork of forum theatre practitioners. More likely, the rvelfare in terms of materiai resources is faulty sustainability, because the need for material resources is an ego need. Money and 'ideal conditions' are allvar. hooked on in people's hearts as a kind of dream, because stereotypically they think that those are the things that are required for ideas and practices to be sustainable. Even if rve have the 'idea1 conditions' rve wili still be under the pressure of the fear that this created construction might collapse. The essence of sustainability in the non-illusionarr world is balance between the understanding and experience of the dualisrn.

The initiative r,vhich is a result of strong motives, converts into an action which lasts. Beciruse of the zest of that motive, it lasts and lasts, and eventually, all of a sudden, one finds oneself rvith no motive left, no pleasure. the batteries are flat. This is sornething very logical and natural for the ego need, because the driving ibrce is "l WANT TO MAKE,l" or "lt lvill be my pleasure from the work" or "My money", "My happiness" etc. Their endless different n-rr . parades of needs, fbr the satistaction of the ego. When "n-iy" lvill transforms into "our" elnd "I" ittto "us", we open the iirst gate towards human archetype nature - the junction between our suroundtngs and the universal cosmic values.

"We" have in itself a mutual independence/interdependence. lt caries respect. "We" strive torvards the One. "We" is the battery charger.

To summarise, it takes a human organisation, consisting of individuals who are interclependent to achieve sustainability. There should be no hierarchy in the organisation because that hierarchy nurtllres the ego. The rvay towards human and democratic continuity, r,vhich maintains the natural balance, can only be provided through mutual generosity.

Goran Stojanoski, Media Artes, Macedonia

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Contaminating Forum Forum Theatre, lnterculture and Pedagogy

Intercultural practices began to develop in Europe in the 1980s in orderto cope rvith the huge changes in global society caused by the large mobility of human beings from the South to the North of the lvorlcl. It is a very heterogeneous field of interdisciplinary practices, all aiming to build intercultural communication and mixing. It has a very important relation to pedagogical work. This trait is shareci with Forum Theatre. Intercultural practices are also \ ery concerned with social justice, due to the very difficult conditions they often deal with when it comes to in-rmigrants and refugees. This agency is also sharecl lvith Forum Theatre.

Roma Porto Franco, as an organisation involved in intercultural practices, was interested in Forum Theatre, as a product of non-occidental, post-colonial culture able to spread around the world, as an open practice, fitting in very .iifferent patterns. This is the first level at which Theatre of the Oppressed is interesting as an intercultural issue. It is intercultural in its very structure. Boai's method elaborated in Brazil, under specific historical conciitions, was able to fe-qenerate and amplify its contents coming to Europe. When Boal came to Europe, he found a totally different kincl of oppression from r'vhat he rvas used to in his South American background. The "flics", the image of policemen chosen :o represeut power and oppression, were no longer objective facts placed outside, in the world. Instead they became inside realities and formed the subjective perception of the worlcl of European people. He called this krnd of oppression "flics dans la tete" ("policemen in one's head"), anci then observecl that even in the situiitions he hacl met before, rvhere flics r'vere definitely visible outside, there were also invisible flics in people's heads. They had oppression inside them. Thus, the Theatre of the Oppressed is able to fit in with a very large range of human experience in diff'erent socio-cultural and geo-political conclitions.

The Theatre of the Oppressed is often chosen among intercultural practices in orcier to improve the shaling of the lerritory of diff'erent communities, to make refugees adapt to the new land they arrived in, to make indigenous people understand and cope r.vith the ner'v configuration of their social environment, and to build new, pluralistic commuuities Here we are at the second level at rvhich the Theatre of the Oppressed is interesting in the intercultural fielcl. Solving conflicts in denrocratic ways and working with physical games improves cross-cultural conrmunication.

The third level to consider Forum Theatre from au intercultural point of vier'v involves the possibility of contermination of its practices with other theatre and pedagogical practices.

To illustrate this, we would like to report from the experience of an organisation rve ale r.vorking r.vith, Teatro cli Nascosto -'Hidden Theatre'. Their workplace is in Volterra, Tuscany. Over the last seven years Teatro <1i Nascosto,

along with the practice of invisible theatre, has been developing reportage theatre. This

is

an original method which

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gives public voice to people and pieces of history (massacres, tragedies etc) that can't reach the rnedia, and enables people who have been through dramatic experiences of war, torture, and family members disappearing, to re-engage with their lives. Trvo and a half years ago they fbunded the Academy of Reportage Theatre fbr Refugees and Asylum Seekers. It is a big house dedicated to that purpose, rvhere the people of Teatro di Nascosto (professional itctors), and the students (refugees and asylum seekers) actually live together. Through a daily process, their lif'e stories are collected, elaborated on, and then perfbrmed. Many of the games are very similar or come from Boal's techniques. in order to create a safe space and to free the participants from their psycho-physical constraints. The consonance of both methods and goals lvith the first and second part of a forum session makes us believe that it is impottant to report this experience, and that many practitioners rvho want to experieni e forum theatre in such intercultural contexts, can find real clues in this testimony, and could well start a real collaboration.

Annet Henneman, the fbunder and director of this theatre group says:

"First of all, we had to create a path of mutual understanding so that we could lvork rvith people lvith a compietely dilferent history fronr ours. The dominant religious culture in the group has been usually (through the years) Muslim. but Christian African, and some isolated tribal cultures were also sometimes represented. All the people we rvorked with until norv had backgrounds of rvar, exile, or torture. We had to find ways of rvorking with people who displayed mechirnisms of war and suppression in their behaviour, being afraid to voice an opinion and to say rvhat they really wanted, having grown up in countries where one risked prison and torture for shorving any lreedom of thought or action.

'While refugees being mostly males and coming from cultures with low female status, to have a woman leader (continues Annet, ref'erring to her own position as director, founder and promoter of the Academy) could be a problem. iEven if people rvanted to accept it, their initial reaction could be strongly opposed to the idea."

We also have the experience reported to us by the group "Comunicare lntercultura", Associazione "11 Muretto", operating in Florence, where an intercultural rvorkshop of ForurnTheatre was -uuided by two malejokers (Michele Redaelli and Fabrizio Martini), trained by GIOLLI, one of the biggest Italian orgar-risations concerned lvith Forun-t Theatre. They felt thzrt using physical games in this instance, because of the presence of rvomen coming from oriental cultures fbr whom body-contact, may be inappropriate. They solved the problem by giving everybody the choice of lvhether to participate or not in each game. Whatever the case, being a woman or a man. is an important

factor to consider in an intercultural context.

Another very important issue is the dimension of exchange. Again, Annet reports: "We learned each others' songs and danced for hours rtaily, rvhich gave us the opportunity to learn movements and tunes very different from ours. For the person who 'nvas teaching, it r,vas a liberating feeling, being at horne rvith his olvn nlovements, meloclies ar-rd language for that moment lvithout the frustration of not being able to speak Italian or English." At the same time, intercultural physical exchange gives us the opportunity to create a safe-space and allows us to 'de-mechanise' usual behaviour.

"We create an atmosphere where one can f-eel fiee and open to do extraordinary things, leaving normtrl behaviour behind, e.g. playing like children or becoming a uazy person r,vith freeze fiames thtrt aliorvs observation and

r00

reflection of action. We do a basic physical training where rve work on physical positions. For instance, lve worked on the creation of physical photographs which showed situations from their past: moments of rvar, of weddilgs, or of tofture. This 'image theatre'is created by the person whose memory it was. The 'photographs'were brought to life by silent movement and then the story was told. This resulted in the perfol.mance "Exile".

Someone who has lived in conditions of war lvill have a particular psychologrcalreaction to a betrayal of a friencl.

This reaction will be different from someone who is betrayed in a country without war. Everyone, me included, has so many conscious and unconscious habits, and what I often see in this kind of work (the first in myself) is that we try ro change and create nerv habits."

When we work in an intercultural context we have to keep flrmly in our minds that the inclivicluals that form the group are not yet a community. If we work r'vith irnmigrants, the social location of indigenous people and that of imn-rigralts is also usually different, and they have very different life stories. So, oppressions are not the same: flics are not placed in the same place. Some are outside, some are inside. We have to search for a common ground. This r,vill be the first work of the joker: to stimulate by maieutic interventions the creation of this common ground, r.vhich will be the basis for group solidarity. But where is the common ground? Firstly, they are in the same place, in the same time, right there. That is their community. The workshop itself, and the context it has been realised within. A workshop organised by the group "Comunicare Intercultura", where Italians and immigrants rvorked together, sholvs how fbruming helps the development of the ownership of the project, thus leading through to ahe formation of a new community.

'Oppression in the r.vorkplace', the first days of a girl employed in a hotel and sexuaily harassed by the owner, was a subject chosen by everyone, Italians and immigrants alike.

Allthese issues are important in the process of life-long learning, in ourpresent and most dynamic world. We rvill now focus on the pedagogical implications of Forum Theatre. We can represent the interrelation between the three fields like this:

irrter'cLlltt]fe

pedagKlgy

fcrum 61aatr6

t

ofier fornis cf tfie.strs

t0t

In the origins of the Theatre of the Oppressed, rve can f,nd the pedagogy of the oppressed of Paulo Freire. Boal met Freire, in 1913, a great Brazilian pedagogue, yet not very lvell known in Europe. They r.vorked together in a literao project (ALFIN) in Peru, while both exiled flom Brazil, because of the regime rvhich had imprisoneclboth men and tortured Boal. They were eventually released on condition that they left the country. It rvas during this project that Boal flrst conceived the core of the techniques which alloivs interaction with the pubtic. This rvas pafily inspired b\ Freire's pedagogical methods. It is based on field research of a community's representations of reality, and then on their de-codiflcation. The people are empowered by means of critical examination, taking an active vielv of previouslr unquestioned truths through dialogue and maieutics. Education is the production iind reconstruction of knor,vledge anc consciousness, not a notional storage. Boal puts together Freire's didactical device and the artistic cjevice of conventional theatre, thus obtaining a double goal, aesthetic project and social agency.

People r,vill learn to react critically, chailenging the'taken for granted'cultural, social and political truths, r.vhich make possible the oppression.In the Theatre of the Oppressed, Boal translates to the aesthetic language of theatre, the

possibility of re-appropriating one's destiny, creating the instruments to rednce oppression through a maieutic, not directive process. The flrst oppression to challenge is the physical one. Become conscious of one's mechanisations.

This is largely possible through dialogue and the confrontation with'Otherness', u,hich is seen as profoundly significant. 'Ihe role of the joker is to make the dialogue possible, not to direct it. His/her attitude is niainly tnaieutic, thus reminding us of the role of Freire's educator. He/She never imposes. ilever criticises or incloctrinates, alrvays respects the suggestions of participants, grants the possibilities to go on, but does not choose the direction.

Like the Kurogo in the Kabuki theatre, says Boal, the joker acts on the scene removing obstacles. Yet not only physical obstacles are removed, but also invisible ones. The joker clarifies nressages, promotes the participation of everybody, creates safe spaces 'nvhere "cinese crises" can develop and carry to new dimensions: he is indeed an educator, in the ethimological sense: sorreone lvho accompanies sornebody else to a nerv place. tn this voyage all the participants change, and learn that they can change the world.

ln accordance lvith these devices are the goals of modern social and problematic pedagogy, representing

the

acquisition of the teaching/learning process as an impulse to social change, in rvhich the centre is the subjectivity of the iearner, to be accompanied in his/her discovery/construction of the r'r,orid.

Riccardo Massa, professor at the Milano Bicocca University, tried a very enriching experiment rvith the stucients on his course of Formative Sciences. They chose, analysed, and represented a piece in choral directing. The professor stood as a joker, to facilitate communication, and grant democracy and the resolution of conflicts that came along the r.vay. He never occupied a central position. They had the opportunity to actively live plLrrality, ancl the construction clf a r'vorld representation together, each giving and receiving. This was to prepare theln to become peclagogues rvith the ability of living the continuous (ex)change nature of the learning/teaching process.

Ivana Badolato, one of the authors of this essay, proposed, in her thesis fbr Master graduirtion, fbruming as part of the formative cumiculum of teaching for educators" This was both in the sense o1'reciprocity with their pupils, and tbr solving the oppressions connected with the institutional structures in lvhich education takes place. The legitimisation of such a practice would be a real revolution in pedagogy. The main contribution of fbruming to education is, rve think, of trvo kinds. It helps to change the administration ol' power in educational contexts and helps

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develop the space for opportunities for life long learning. It helps, through forum techniques which properly stimulate both right and teft hemispheres of our brains, to solve blocks in the continuo6 pro..rs of the cieation of the world that all of us keep doing and re-doing, when we are free of oppressions.

Therefore, our final suggestion for old and new practitioners is to try to develop a sffong cooperation between forum theatre practices in Europe, intercultural devices, experimental pedagogical methods and other social oriented theatre techniques. This would enhance the possibility to create a larger ground, a new, open, interdisciplinary area, aspace to cultivate personal and social growth in freedom, democracy and creativity.

Ivana Badolato, Livia Bazu Associazione Interculturale "Roma Porto Franco", Italy

ii

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Using Forum Theatre for Developing Emotional Literacy

TheatrFfonvmCymruisaneducationalcharitythatr.vasestablishedin 1993.Myself andmycolleagueAnna,.,vho started the charity. were ex drama and art teachers respectively and both of us r'vere disiilusionecl by the system.

Having agreed that rve rvanted to set up an arts project that created enrpowering opportunities for local. unrvaged young people, rve stumbled across some Forum theatre training in London rvith Adriiin Jackson. We persr"radecl the local education authority to pay for us to go and like many we were bitten rvith the forum bug.

In the early days the peer rvork presented by our young volunteers, was very focuseti on heaith issues -'sex and cirug: and rock 'n roll'. Horvever r.rithin a short time, it began to dau.,n on us that althoLrgh our perfbrnrances lvere nicely convenient fbr the school curriculum. and certainly entertaining for the pupils, we were probably having little impact irr causing any real change either in tl're lives of the children and yollng people rve lvorted r,vith, or u,ithin the system that rve felt rvas failing thern. We stopped, reflected and realised that the issues (sa|e-sex, substance mis-use etc) rvere actually not the real issue. We rvanted to rvork rvith cause rather than effect. Lolv self-esteem, lack of insight, insufficient understanding and denial regarding the emotional realm figured high as causal factors in regard to self'-abusive behaviour piitterns. We r.vere lvitnessir-rg increasing cases of self-harm. depression. eatins disorders, substance abuse etc. and our work r,vith mental health service users was on the increase.

Our ne"v mission statenlent: "Theatr Fforrvm Cymru takes a unique, holistic approach to emotional learning. in a boid. creative and accessible rvay," became our vanguard. This f'elt much more honest but inevitably ctrusecl havclr: rvith or"rr lunding streanls: .uve no longer lltted neatly in the box. We began to ncgotiate rvith schools to set up projects rvith pupils that aliorved them to explore their inner lives and the emotions that they rvere experiencing. pirrticularly thosc' that adversely afl'ected their thinking and behaviour. Soon, horvever, we were being chaunclled torvarcls the so-called dis-engaged pupils and found ourselves once nrore rvithin an iclentifiable funding streiun. but ivith a loss of integrity.

Again we were being pigeon holed, agiiin we re-grouped.

The popularity of Daniel Goleman's bestseller "Emotional lntelligence" greatly helped our efl'orts and gave us the 'hanger'rve needed. As a result lve fund-raisecl ourselves and began to undertake a series of emotionirl literacy projects. This rvol'k continues and is cieveloping, as does its dissemination through a training programrxe both in Waies and further afield - as in the ECU-Net training in Europe and the Grr-urdtvig programme.

We had recognised the porver of fbrum theatre techniques for rvorking rvith emotional issues ancl rve cornbinecl these rvith other techniques, rvhich seemed to blend lvell. The techniques used have evolved rvith tirne and ii-rclucled a urtique blend of circle-activities, inieractivc qames, transactional analysis, activities for encouraging dialogue, actjve listening exercises, mindfulness techniques (you can't learn if you're not preser-rt) and Open-Space Technology.We also returned to ilrhat rve believe is the true spirit of forum theatre and that of Augusto Boal himself, by letting the 'issues' and material of the -sessions arise from rvithin the group and, by careful and attentive listening to the shared stories, the substance ol the sessions emerged.

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By focusing on relationships, the work covers three areas: my relationship to me, my relationship to you and my relationship to my world. As well as the blend of other techniques mentioned above, the fbrum theatre content is applied thus.

My relationship to me: The beginning and the end point of all workshops and held r,vithin a circle. As Harrison owen (Open Space Technology) says so eloquently, circles are "the geometry of completeness, inclusion and wholeness.

Special things happen in circies, as every indigenous group knor.vs fuli well."

Image theatre is incredibly effective here' Single ilnages allow people to express something of their inner world: feelings, values, attitudes, motivatiors. meaning, fears, aspirations etc. The sharing and reflective space created exploration ancl understanding "n.or.ug"Jthe of 'rvhat makes me tick' and then, subsequently, how that is similar or different to others. Of course what rve (as facilitators) soon realise is that rve share more with others than we cliffer from them.

The outer story rnay be very different but the inner terrain strikes a resonant ancl often heart-felt chorcl. Something happens together.

when rve bear rvitness

The second area that we focus on is "My relationship to you": This work expands out f1om the circle a,d is explorecl through more compiex images and forum theatre. The r.vork involves looking at interpersonal relationships, understanding the consequences of our thinking and feelings on our behaviour, understanciing the consequ",r.", of our behaviour on others, exploring conflict etc. This 'mirror' again reminds us of what rve share ancl the st*rggles rve have been through or are going through. Together we can be more resourceful and will ourselves ancl each other to win through, to see the damaging thought pattems for what they are, to lincl ways to trip them up and thereby increase our

potential' Forumtheatrecanbeabitlikeslowmotionorperhapsmoreaccuratelylike'expanclingtheno'v'.

Itcreates the space from r'vhich we can choose to be responsive rather than reactive. Boal's rehearsal technique of ,,stop, think,, is also an aid in emotionai literacy wor*. lt allows us to be mindful (as opposecl to minciless) and iilurninares the split second when thoughts, r'vords and actions can so often coincide in the reptilian response of fight or flight. ,,Stop think,, can also be extended to "stop, think, f-eel," again highlighting the interaction between feelings, thoughts and actions.

As Boal himself says: "Theatre ....the human property which allor.vs man to observe himself in action, in activity...it allolvs him to imagine variations of his action, to study alternatives. Man can see hirnself in the act of seeing, in the act of acting, in the act of feeling, the acr of thinking. Feel himself feeling, think himself thinking.,' Thirdly we can explore "My relationship to my world". Often the most exciting workshops are those when sornething else happens, lvhen the whole thing is greater than the sum of the parts. When true communion occurs and cclmmunity is an experience and not a concept. With this experience comes the realisation of our common humanity ancl interconnectedness. In spite of our cultural diversity, which brings richness to the work, there cornes a point rvhen rve can become as one. with that comes the empathic knowledge that what happens to you effects me ancl vice-versa. lt is indeed a small world rve live in.

With the current emphasis on active citizenship rve need to acknowledge the relationship betlveen emotions anci motivation (both from the Latin root 'to move'). Unless lve are prepared to engage with the enrotiols, then rvhere can the motivation forpeople to becoure activated come from? Again, Forum theatre works so g,ell: "Theatre is i.r fbrrn

of 105

knowledge: it should and can also be a means of transforming society. Theatre can help us build our future, rather than

just waiting for it."(Boal)

It is also during this aspect of the work that legislative theatre sometimes comes into play. If the oppression experienced by the protagonist in the piece of theatre is a policy or lack of policy then we have legislative theatre.

Indeed we have produced legislative theatre pieces with many groups across Wales and we have subsequently either taken them to local policy makers, or, as in four cases to date, we have taken them to the Welsh Assembly Government. We have also created "Open Spaces" which we have called "agora's" where the grass root groups we work with are brought together with politicians, bureaucrats, committees, local counsellors, managers etc. The Agora was the space outside the forum in ancient Greece (and later the senate in Rome) where politicians dialogued with the citizens, (agor is also Welsh for open). Again returning to the emotional realm, often the real power of the piece is in the effect it has on the spectactors (in these cases those with more power). It is possible to f-eel a palpable empathy in the room as the story is played. It is in that moment that the greatest hope for change seems to occur. In our experience, when the moment is lost and memories fade, then the hearts of the legislators can sometimes return to where they lay fallow, and once again the policy becomes a paper exercise, where heart and head are divorced.

Although it is still early days here in Wales, just recently one Welsh County Council pro-actively commissioned us to work alone with their tenants, so that they could truthfully present their stories and issues back to the council. Change happened that day when county council employees saw themeselves mirrored and orvned their oppression, and I for one am truly encouragedl

Gill Dowsett, Theatr Fforwm Cymru

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107

A Change of View

It

r,vas the early 1990's. The project brief was to promote a learning credit scheme for l4- 16 year olds in Schools in rural North Wales. Initially, it did not sit lvell with our concept of Forum Theatre. At the end of the performances each of the young audience were given flash ne,'v filofaxes in which to write their learning outcomes. To us these small black books, career company brand emblazoned on their covers, were symbols of the 80's greed and capitalism.

They even had mocked up credit cards inside rvhich would offer discounts to those rvho signed up to the scheme for all kinds of youth orientated merchandise.

However the money was good, not good enough to hire more than three actors and a director, and we thought rve could create something to help young people recognize that they had a right to choose their career, to find what they wanted to do in life, rvithout undue external pressure.

Together, we created three scenes. In the first, a 74year old girl lvorking as a lvaitress in her lveekends is oppressed by her boss and is unsupported by her long suffering colleague. In the second the girl coffres home to her single mother rvho subtly exerts her desperate need for her daughter to stay in school and succeed academically. Sornething the young girl f'eels is not where her strength lies. (The scheme the project was promoting was for 'mid to low

achievers'who were likely to leave school at 16, and was offering them more'vocational'qualilication routes).

Into this tense living room scene stumbles her uncle, visiting and slightly drunk from another failed job interview. In his early thirties, unemployed for l0 of those, bitter, pessimistic and apathetic. This pseudo patriarch's advice to is niece is not to bother studying or have ambition or aspiration because that r,vay lies disappointment. The best strategy is to accept unemployment as a way of life because there are no jobs for the likes of us.

The final scene showed a career interview in the school with an inept and unsympathetic advisor and a mother r,vho r'von't let her get a word in.

I

r.vas in the sffange position on tour of acting the three main oppressors - the boss, the uncle and the Career Advisor and Jokering the forum. It was a case of oppress, oppress stop come up oppress oppress how did she do ok stop oppress oppress etc. It became a kind of rhythm, which the audience seemed to accept, of me stepping in and out of character'and those intervening subject to nasty oppressor alternating rvith supportive Joker.

We perfbrmed to audiences of school students who had not experienced Forum Theatre before, who had probably not been asked for their opinion before. So it r,vas here, performing twice a day for four weeks, that I came to knolv intimately that wonderful reaction when you explain that 'we are going to perform the play again and this time you, any of you sitting there, watching, can shout stop, come up and take the place of the prota-eonist and try and change the story, resist the oppression, liberate our hero'. At that instant, although I have already explained this procedure at

r08

the beginning, they hear it and they are changed. Not yet quite believing what I have told thern their jar,vs drop, they look at each other anew and laugh with the nervous excitement of a baby discovering its first tool. This tool is the knowledge that they have the power to change things, something their education haJfbrgotten to teach them.

One day we visited a special school. In the strange logic of Education Authorities this was a school which taught people with severe disabilities, Iearning difficulties and pupils with mental health problems. The school. though not unpleasant by any means, had that feeling of institutional apathy carried on the scent of disinfectant. They haJ forgotten of our amival and there was a backstage scurry to pressgang classes into attencling, while the suave head teacher presented to us an unflinching smile. We set up with the help of some of the boys whose education had, it seemed, been abandoned so they just 'hung out' in the school. One young man caught my eye. His hair was flame red his face so rvhite that even the acne that covered it did not redden his complexion and one eye was swollen and bruised. I had the impression of someone who had weathered immense pain and sutfering in their short Iit'e, and I suppose, looking in his aged eyes, my projection was not wrong.

The audience were hrought in to the hall fiom all directions by listless attendants whose bodies spoke of wanting to be somewhere, anywhere, else. They formed a ramshackle audience: the front rolv of young men with mental health problems who it seemed were the only ones who lvere at all curious. Then behind thern, spread out in a sfi-ange constellation, no chair or lvheelchair facing the same direction, young people contorted into strange and strained shapes by cerebral palsy. It r.vas not a still or silent image either. There were waves of convulsions, gasps for air and the occasional incoherent (to me) holler. Some had been placed by attendants in positions r,vhere it appeared they could not tum their head to watch.

What were we doing here? Most, if not all these young people would never have a career and here we were waving under their noses the challenge to make choices that they would never 'have'to take. To give them filofaxes and credit cards would feel like a cruel joke. The other actors were very unsure but I felt that if it lvas relevant to one of the audience it r.vould be worth it and we persevered.

No one had a suggestion for the flrst scene so rvith ploughed on to the second. Now the Uncle lvas the one oppressor no one had a successful answer to. lt was almost always a case of him being manhandled out with differing clegrees of violence, which to the delight of the young people we accommodated rvith lavish action sequences in slorv motion.

But in the end, even if it was through the imaginary letterbox, he always won the argument because at that time in that place the economy was dire and there were no meaningful jobs. He was right about that. So how much more right was his apathetic stance for this audience. So when the young pale man I hacl noticed etrrlier said stop I explained the rule about violence and prepared myself for some stunt falls. He came up, gently held ny Llpper arm and askecl me to sit down with l-rim on the sofa. We did so and he told me, with a compassion that I rvill never forget, to never give up.

My character's hardened mask slipped...he became a human and at that moment so dicl I. I noticed that everything rvas still, I turned to the audience and saw there not one disabled person. They were all intelligent compassionate beings, entirely conscious (knowing together) at that moment that I hacl been broken like them, but like them rvith an inflnite strength that r,vas made visible, tangible only when my hard exterior had been breached bv kindness. And then it was gone.

109

I felt

a veil of ignorance had been dralvn aside to reveal a fundamental

reality. Afterwards I asked the other actors whether they had seen what I saw. They conceded to feeling touched by the moment but not to having had some kind of miraculous shift in perception. Preparing to leave I was wracked with sadness, f'eeling that I was somehorv abandoning these human beings to lay hidden behind this flimsy illusion of inferiority. Looking back, perhaps this was alrogant of me. By now I know the sky is always blue even behind the clouds: and there are still big black ones obscuring my view in most directions.

After ten years of Jokering I still come back to this epiphany. It reminds me, though not enough I admit, that the aesthetic space created by TO can be a crucible for change that is not only driven by political or psychological insights or, dare I say it, agendas, but by the simple and sincere request to perceive a situation differently and a surrender to whatever serendipity in the form of the audience provides in answer to that request. That serendipity is not dependent on the Joker (it is often despite him/her) but impartiality helps and this is not to be confused rvith indiff'erence. I care passionately about getting to the root of a problem...it is the phrase I most commonly and most sincerely use...'What is the root of the problem?' Sure, I usually know intellectually what it might be, but I never give up the hope that someone will shout stop come up and through their actions 'shol' it to me, just as the young boy with the black eye did.

Iwan Brioc, Wales

il0

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I i

Puppet Techniques

tn

Forum Theatre

The stories with which the theatre works, clearly represent real situations. Why then, did we decide to experiment with puppets? The puppets are not better or worse than people, they are simply sornething different. Then how can they impact in work with real stories? How can they change the presentation of a real story? What do they give to the participants and to spectators? Is it fortunate that inanimate objects can provide abstract means of expression in forum theatre practice?

The two-year project "Grundtvig 2" presented a wonderful opportunity for "Tsvete" Theatre to practice and disseminate its Forum skills, whilst allowing the team to deepen their understanding and to experiment with new techniques in Forum theatre. In its social projects, "Tsvete" Theatre often works with juveniles, survivors of violence, who have turned alienation into a defensive reaction. Many of the children's stories, who lack parental care, are so hard that they cannot confront them, and so they turn them into their nightrnares.

The techniques employed by puppet theatre are attractive and fascinating and, as it is well known from the puppet therapy, they provide an opportunity for direct sharing, so we expected the results from experimenting with puppets in Forum Theatre to allow more opportunities to help solve our young friend's problerns. In the course of two years, we held four workshops with a group of young people and their leaders, half of which were always present. Al1 the ateliers were well prepared and embarked on the project with great enthusiasm and excitement.

The first Forum workshop was strllctured around the preliminarily programme created by our teachers from Theatr Fforwn Cymru. However the next three forum workshops with puppets our allowed us to use our creativity and pushed us to experiment. The techniques we used, besides the animation of puppets, included the use of a variety of objects and materials so we provided the participants with colourful textiles, neutral masks, paints, colourful sheets of paper, glr"re and plasticine. These materials were to enable the participants create their own characters with wigs, costumes and details of their own choice. Some of the young people in the group had previous experience of forum theatre, for the rest it was the first time. However all of us were embarking on an expedition to unknown lands. Unique processes were taking place, reactions were spontaneous and the excitement was the excitement of discoverers.

During the opening stages of the workshops, warming up games and image theatre, we included tasks which enabled the participants to familiarise themselves with the materials.

Using the cloaks and masks, and combing the movement of the textiles with the stillness of the masks, the young people quickly discovered how to express emotions. The beautiful live pictures which they made, created an atmosphere of openness and trust. The high degree of emotions rvhich were provoked by using inanimate objects, provided a nelv way of communication and introduced the notion of'using puppet techniques in forum theatre, especially suitable for a group of participants rvho do not know each other. 't

11

Considering the fact that the matter is alive only when it is in movement, the irnage theatre, created by the cloaks .,:. , masks, presented repeatgd Inoyements with a beginning, development and end. Tire young people were eXtrt-n.: . excited by the creative possibilities that brought about change in proporlions, movemeuts and sl,apes of of the puppr : Working with plasticine, the task was to create sculptures which represented the culrnination of thcir story, the no11.:in which they had felt suppressed. There was an abundance of colourful symbols, unrealistic figures, oflcrr comic. ..:'.realistic representations. The sculptural compositions sLrggested that the time fbr their creation r,r,as also a time for recollection, and to get acquainted with feelings that had been rekindle, which couid bc cvaluated at a latcr date. As ri i.: the image theatre, we analyised the characteristics of the sculptures from both an objectrve and subjective vieu'porn.

The participants said that by working w'ith these materials they had remembered their stories iu more detail. The1, h:,; succeeded in creating a photograph of the situation, which could help thcm work with thcir problern.

"The whole story passed before my eyes but when I created it frour plasticine, it was as though I completed full-stop, and with heart"

By working with the plasticine, and rnaking a retrospective image, the young people could sink again iuto tl-re expcriencc, thus giving thcm chancc to reflect upon thc story. The person docs not nced to look lor worcls but can connect directly with their own emotional state. Here is another interesting point. A11 the tin-ie, while rnodeling his/her storr. the author/sculptor observes it frorn outside, frorn a distance. The result is something like a photograph which you look at from the side with particular symbols, sizes, proportions and colours, the picture of yor"rr story!

Using these methods, the participants became sculptors of their own emotions and creators of their own story. There *,a: spontaneity and fun in this irnage theatre, and revealcd learning about'myself and the others'. This reinforces the usc of puppet techniques as an emotional warming up for the participants, and their preparation fbr the Forum. Wheti the majority of the group are strangers to each other there is not enough tirle to build r-rp confidence and to share their stories freely and without embarrassment so these are especially successful techniqucs which providc a rlcgrcc of distancc ancl saf-ety.

When the participants came to making the actual Fomm, rve used a different approach. Afiel creating their images, a set of ten or so characters were given roles in the respective stories.

o.,vr.r

visnal

They were given total freedom for the presentation of the stories on the stage. Thcy could decidc whcther puppcts were used or not, and how they would appear, with masks or without. However there was a rule that the protagor-rist should keep his/her role as a producer and have the final say in the stage decision.

Thus, using a real life story as a starting point, the puppets entered into the sphere of reality. They enabiccl the protagonists to physicalise their attitudes giving them various heights, shapes and colours and arrange thcir choice ol masks. A 'two sided' pr-rppet character using a black and white rnask represcnting a hypocrite appcared on thc stage. ln the course of the act, the actor with two contrasting halves presented himself before the audience first rvitli his white and then with his black part. In the story, a close relative of a girlhad sexually abused her. The image ollhe violator

112

was presented as a combination of a human image with a demoniac side to his nature * the puppet. This dual image was animated with the appearance of his vile intention, and at the moment of the sexual abuse the girl was replaced by a smaller puppet.

During discussion, the protagonist told us that the opportunity to unmask the real nature of the violator befbre a1 audience, created in her the feeling ofrevenge. She had succeeded in representing him as he looked to her, enormous and dark, with two faces. Having been give the opportunity to place herself in this situation using a puppet, made her calmer and more distanced from the problern.

During the workshops not everybody decided to present his/her characters through puppets. Sorne of them preferred to use the expression of the live actor. Others spontaneously used puppets, masks, and objects in different, separate moments of the stage act. But for many, the chance to include the expression of the inanimate objects in the public sharing of painful situations was encouraging.

It is interesting to note that the inclination of participants was to use the puppets and puppet techniques when presenting the oppressor, as well as at the moments of greatest violence. In one of the stories, entitled "Vampires", the only part which was presented with puppets was the "most scary": the person who caused physical injury to the protagonist wearing a dark cloak and mask was presented as a black, constantly moving wave.

In another case, the actor holding a mask to his face to play the parl of an oppressor. who in his anger jumped upon the protagonist to strangle him, stopped in the middle of the act and said that the mask paralyzedhis face and was increasing his anger. His emotions escalated and he felt that if he did not stop, the mask itself would jump forth under the pressure of his anger. Now that he could take it off his face, he was released from the tempestuous dark feelings. With a single gesture they were removed.

In one of the more joyful stories, "Orange Shoes", it was entertaining for the spectators to see how the protagonist, an actor standing at his full height, was being maltreated by quarter sized classmates - puppets. The cirange of the characters, as well as their unlimited opportunity to take various positions in the space, ofler unique ways of expressiug the characters'state of mind.

The use of these techniques introduces some comic moments, which in turn decreases the dramatisation of the event.

This makes them especially suitable for unlocking and sharing, as well as for closing of the Forum session. Making fr"rn is an undisputed characteristic of the puppets, which is desirable, especially with younger children. Through puppets even the hardest story is shared more easily. In situations when the work is about an especially dramatic situation, its replay with puppets not only alleviates the problem by distancing the protagonist, but it is also great fun for the audience. It guarantees bright and merry spirits after several hours of strenuous fortim. Even if tliis were the only place and contribution of the puppets, the experiment was worth it.

Polikesna Kostova, Tsvete Yaneva, 'Theatre Tsvete', Bulgaria

113

Addressing the Future Using Forum Theatre

MJC is a youth arts centre in Montlucon, central France. MJC's target group come from disavantaged neighbourhou:. and is established in a middle of a so-called "sensible" city.

We plan, through forum theatre workshops, to help young people between 13 and 18 years old rvith social and famili difficulties, r,vho are sons and daughters of immigrant workers, people from placement centers and others, who for a variety of reasons, give up school or cannot integrate into society.

The young people we see every day often have communication, identity and social problems. They have problems integrating into a social environment and cannot imagine the future or make plans for it. Their drfhculties in school and their literacy problems prevent them from expressing themselves except in a violent or passive way. When forum theatre is introduced into their lives it will enable them to express themselves fieely and without danger. There will bt no social judgement.

Forum theatre could help them to re-affirm their identities and explore their values. ideas, and wishes. It could help them to became conscious of the fact that what they are saying and their ideas have value in ameliorating their environment.

Through Forum Theatre, we expect to give them back their confidence and help them to {ind their place in a society in which they will feel excluded no rnore. They will be able to reflect on their specific problems, and to change their ways of thinking. At this point it will be possible to operate a real change between the youngsters and a society lvhich could not relate to them until now. We look forward to creating a new, dynamic initiative in Montlucon, rvhich rvill have a real and positrve effect on our local community.

Sandrine Dermules, Cecile Dureux, MJC, France

114

il5

Forum Theatre in the Context of a illulti-Ethnic Community

'A Vierv f}orn the Other Side fbr Ethnic Unclerstanding and Peace fbr Youth in Southern Serbia' and a local initiative rvith the Red Cross for the Community o[ Palilula, the integration of Roma children, children mol,ed {iom Kosovo an; Metohi.ja, and local children fiom Belgrade.

During the nineties in the South

of- Serbia, in Kosovo and Mebhij:i, there were constilnt fights, ethnic cleansing, zind tn 1999 the violence escalated. and Serbia and Montenegro were bombecl by American and NAIO forces. Afier all this violerrce it was decidecl that Serbian and Albani:rn people should live together in inclepenclent Kosovo, but the1, .iust kept on iiving separately, more than ever. The project 'A View from the Other Side', ciid not go to Kosovo because the i'vcrk would be impossible as everyone '"vho wished to go through Kosovo had to have escort ol UN military. The project lvas held in three cities, near the border of Kosovo: Vranje, Bujanclvac, and Presevo. Bujanovac and Presevo are two cities with a population of Serbians and Albanians. Both cities, rvhich are really close to Kosovo, are in a permanent critical position as there is allvays the possibility of violence escalating into Serbia. Vranje is tctwn in rvhich there is high percentage of Roma people and Serbians. Usuaily these groups don't communicirte rvith each other. and live in physically separated places in the towns. For example, r'vhen you come into Presevo, at the entrance of the city. there are Serbian houses and a school, and therr there is a border like a separate entrance, into the Albanian part of tolvn. At any time on this border, you can see armed soldiers on duty.

Our first problem r'vas whether rve should rvork in two separated groups and then slorvly intesrate them, or to start right arvay in mixed groups. The next question rvas ho'nv to integrate them in one group since there was a strons language ban'ier L'retrveen Albanian speaking and Serbian speaking group. Even though everybody lives in the territory of Serbia, they couldn't communicate among themselves even if they rvanted to. We neeclecl an interpreter tbr' the rvork and as there 'rvere trvo facilitators from Kosovo they sometimes rvorked with the Albanian speirking group.

The Serbian speaking group r,vorked ivith serbian facilitators.

We decided that this first barrier could be overcome by each group giving a presentation thlou_th lnrase Theatre. The Serbian group visited the Albanian group's gallery, and visa versa. The participants finished r,vith a coliective irnagc rvhere the lacilitators and co-ordinators rvere visitors. This rvas the introduction lor the next meeting rvhen they rvoulci be in one big group fcrr lhe {irst time. The facrlitators were surprised because all the participants shoived an interesL in ivorking together in the siime group.

'l'his rvas the most logiciil rvay to go. but there is ahvays a fear ol the unerpected anci you har,e to make sure that there is a safe atmosphere for the r.vork to be created. Even the participants rvho came to the rvorkshops were arvare of the situation. They probably 1'elt the need to do something about the atmosphere which surrounded their lives rn therr towns. The fact that a groiip of people came to lvork with them using theatre as a techniquc was a real rclieshment tbr

il6

I

them. Serbia is pretty much centralised around the capital city Belgrade and other bigger cities, and when you step out from these urban environments there is no provision for community projects and there is little community life. The young people have schools and caf6s. When they live in mixed cities they don't go to the same schools, and even if they knew each other fiom these separated groups they wouldn't say hello on the street.

One of the problems which caused prejudice in Serbian speaking group was that people flom Albanian group could speak Serbian but didn't want to. However, for some of them this was true in the beginning but after a whiie they started to communicate in any way possible. They were teaching each other lvords during the break and really started

to socialise. It was difficult, as there was still social disapproval for this kind of behaviour from some of their parents.

During this project things started to move a little bit, at least they were greeting each other and some of them became friends. We tried to overcome the problem of integration fbr the whole period that the project lastecl. We also discovered that there were three levels of linguistic development, firstly with the participants, then rvith the audience, and then with the facilitators.

It is so sad that these young people's lives are so much lead by the current politics, and the atmosphere visibly changed in the workshops after the violent incident in Kosovo, in March 2A04. Lt was ethnic cleansing of Serbian people from thevillagesof Kosovo.AlmostalltheChristianSerbianheritagewasburnt,churchesfi'om l5thcenrury.Thenthere were protests all over Serbia and three mosques were burnt. People were furious. The first meeting of the groups afler this incident had a really strange atmosphere. It was tense and in a way hysterical. It is harcl for these young people not to be influenced by their surroundings because they live in fear of escalating violence and are always afraid of these incidents. Probably for older people rvho are not trying to change things and make and life better, it is enough for them to think that other side is evil, bad. This results in a total breakdorvn of communication. lt stops. No mixing r,vith the other side.

Jelena Vuksanovic

117

Partner Organisations: Contact Details

AEDO (Associagso para d'EducagEo e Desenvolvimento Local) 4000 Porto, Porlugal

Email: adeojorto@hotmail.corn Dr. Luis Rothes, Professor Roberto Frias

Angel Productions Moorside, Eastby Skipton, BD23 6SN England Telephone/Fax'. +44 17 56701184 Email: angelproductions Simon Latham, Sheila Lawrence

Arttrain Edv. Falcksgade 3, kl DK-1569 Copenhagen V. Denmark Telephone: +45 3315 33591 Fax: +45 3315 3356

Cape UK 2l Savile Mount Leeds LS7 3HZ, England Telephone: +44 1132 007035 Email: cape@capeuk.org www.capeuk.org Pat Cochrane

Cedeum Centre for Drama in Education and Art

Kapetan-Misina 6a, 11 000 Belgrade, Serbia and Montenegro Telephone: +381 11 639-639 fax: +381 11 183-792 e-rrrail : cedeum@infosky.net, cedeumbg@yahoo.com Ljubica Beljanski-Ristic, Jelena Vuksanovic, Aleksandra

Markovic

Email: arttrain@mail.dk

Clubul Copiilor si Elevilor Zimnicea

www.artrain.dk Bo Otterstroem

(After School Club Zimnicea) Zimnicea, Str. Mihai Viteazul, Jud. Teleorman

Association for Culture and Art "Pro Arte" "Dr.Ribar"

13

1300 Kumanovo, Republic of Macedonia Tel: +389 31 429 923 Mob: +389 '10 822 138

E-mail: proarte@mt.nelmk Keti Doncevska Ilic, Goran IIic

cod 145 400 Romania TeVfax : 0040247 368 641 Email: club_zimnicea@yahoo.com./clubzimnicea@evstar.ro Camelia Turcan, Veronica Schiopu

Fundatia Conceot Bulevardul Regina ElisabetaAp. 34 Bucharest

La Batahola de la Pintura 57 rue drelon 63 000 Clermont-fd, France Telephone: : +33(0)630 754112

batahola@voi1a.fr Meedy Sigot

rr8

-

44, Romania

Telephone: +4021-311 -1252 info@concept.ro Oana Mateescu. Anca Rotescu

Fundatia Dramafest & Ariel Theatre Str. Postei nr'.2 4300. Tirgrr Mrrres. Romirnia Telephone: +40 0365 4079b0

Enrail: dramafest@rdslink.ro Gavril Cadariu

MEDIA ARTES Artists' Association Cultural Centre "Dame Gruev" K-3i34, 6000 Ohrid, Republic of Macedonia tel: +389 46231 57{t ftrx: +389 46731 572 e-rnail rrreditartes @ r'nt.net. lnk

Theatr Fforwm Cymru Goodlvick Corn n'run ity Clentrc New Hill. Coodwick Pembrokeshire, Wales SA64 0DIt Telephone: +44 1 348 873805 Em a i I : i n fb Or th eatrf'fo rw m cy m rr r. or-u. k r_r

Cill Dorvsett, Karen

Charrcller

Theatre Tsvete "Mladost" - I bl.l5. entr B, fl.9. ap.4l.

1750 Sofia, Bulgaria

Trlephone: +3-59 2 703 561 Email

: actedG.Drnail.orbi

tel. bg

'l\vete Yanev, Poliksena Kostclva

:

www.mediaartes.org (to be launched soou) (ioran Stojanoski, .lasrnina Bilalovik

MJC Montlucon Av. de l"onlbouillant.

0-l 100 Montlucon, Ceder, l,'rance Telcphonc: +33 47008 3-565

:

Email

nranuel Ia.bodenne@mjcrnontl ucon.asso.fi

VAT Teatre

T6nisrnagi 2. -frrl I itrn. Eston iit Plrorre; + (3'/2) 6 450 959 CSM: + (372) 5 064 169 Fax: + (372) 6301 2'72

E-Mail:

vat60vatteater.ee

Mail: P.O.BOX 3242. I 0505 -Iiitlinn 'l'iina Rebane, Mari- Liis Velberg, Piret Soosaar

Cccile Durcux, Snndrine Derrules

NGO Biveda Poduene. k.Suha reka Bl. 13. cntr'.8. app.22

Sofia l517 'l'elephone: +359 2845 Errrai

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istrachol a(?yalroo.corn

Bistla Chola-[.aleva

Roma Porto Franco Associ azione Intelctrlturale

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Pictralata, 20600l-57, Rorle, ltaly

Telephone: +39 06-6 I 30203 Ernail : I ii iirbazrr(Qyahoo. it I-,ivia Bazu, Ivana Baclolato

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Translations Portugal Este livro de bolso tem um objectivo muito prittico que consiste em disponibilizar urn cluach'o do tipo "pintura por n(tmeros" para Jokers reccntemente formaclos.

E verdacle que s6 atrav6s da prhtica algu6rr-r pocle realn.rente aprender a desempenhar o papel de Joker, mas o terror de dal esse plirneiro passo pocle fazer com quc nruitos nulica o d0em. de facto. E com isto em lnente que of-erecen.ros r.tm guia dc rvorkshop, passo a passo ("Grounding"), seguido cle estudos de caso realizados por Jokers que experimcntant o rvorkshop conl todos os tipos cle grupos ("Exploring"). Os Jokers que contribuil'am para este livro de bolso sio todos artistas e fbrrnaclores com a sua pr6prirt 6rea de especializaElo. Seria negligente niro aproveitar esta oportunidade para fazer inciclir essa especializaqito no processo de Teatro do Oprimido (TO): por isso tarnb6m se inclui uma colec<;io de ensaios sobre TO, relacionados com 6reas cspecificas rlc

aplicagiio e com estilos de teatro ("Rel1ecting").

De qualquer mocio, a realizaqio deste livro s6 foi possivel devrdo ir espantosa tiaternidade dos cortpetentes e altamento motivados participantes na fbrmaqio ECUnet e d sr-ra vontade de partilhar as liq6es ft'equentemente dificcis clue aprcndcrarn clanclo. cora.iotrmente, o passo de assumirem o papel de Joker.

At6 onde vio levar o TO, 6 um excitante ponto de vista corn clue termina este livro de bolso e onde a aventLira realmente se inicia.

Anna Giffold

Denmark Der er en meget direkte hensigt med denne bog, nemlig at tilbyde en sikker ramure for nye.joket"e. Det cr sandt, at pvelse g0r mestcr. nren risikocn vccl clet f6rste skriclt kan g6rc, at mange aidrig torctagcr det. Mcd dettc fbl Ojc tilbydcr vi cn gtricic ("Grounding") efielfulgt af case-stuclies fia jokere, del har anvendt guiclen i deres arbejde med tnange fbrskellige slags grr,rpper ("Expericncc"). De jokele, der I'r4r bidraget til bogen, er alle kunstnere og unclervisere med hver deres professionelle baggruncl, og det ville v&re forket't ikke ar benytte lejlighcdcn til at pege pi dentre ekspcrtise i fblhold til Dc Undertryktcs Tctitcr (Thcatrc of thc Opplcssed / TO). Det er derfor glort igennent en riekke essays om TO i fbrbindelse med de for-skellige albcjdsomriider ("Reflection"). denne bog overhoveclct cr blcvet til noget skyldes dcn forblsllende gruppc dygtige og rnegct motivcrcde clcltagcrc i clet sikaldtc ECUnet projekt samt cleres vilje til at delagtiggore i den, ofte vanskelige lektie, c1e har lrrt ved modigt at tagc de f-srste skridt sorr.r jokere. Det blii,er sprendende at se, hvor de vil fore TO hen, men her slutter vores guide, hvorefter "Adventrtres in Forum Theatre" kan startc for alvor. Anna Gifford

At

Wales Mae prvrpas hynod o yntart'erol i'r llar.vlyfi-hrvn sef cynnig fTran,rvaith arrveiniol ar gyfer digrifwyr sydd ner'vydd cu hyftbrdcli.

Mae'n rvir na ellir dysgu bocl yn clcligt'ifr,vr oncl trrvy [wrrv ymlaen A'r givaith, oncl gall yr oln o gymryd y cam cyntirl rwystro rhai rhag gr.vneud hynny. Gan ystyriecl hynny, yr ydym yn cynnig canllarviau grveithcly gam-rvrth-garn ("Gosod sylfaen") rvecli'i dclilyn gan astudiaethau achos gan Ddigrifwyr sydd rvecii defnyddio glveithclai gydag ystoct ean-s o glrvpiau ("Ymchrviiio").

Mae'r cligrifi,vyr sycld rvedi cyfrannu i'r llarvlyfi yn artistiaid ac addysgrvyr gyclag arbenigcdd penodol. Bydclai'n dueni i bcidio defnyddio'r cyl1e hwn i flbcysu'r arbenigecld hrvnnrv ar y broses Theatr y Gorthrynredig, f'elly yl ydyrn hetyd ',vecli cynnr','ys

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casgliad o draethodau ym ymwneud d Theatr y Gorthrymedig mewn perthynas 6 meysydd defnycld penodol ac arddulliau theatr

("Adlewyrchu";.

Mae'r llawlyfr hwn yn bodoli oherrvydd y fiawdoliaeth anhygoel o gyfranogrvyr sgilgar a hynoci frwcltiydig yr hyff'orcidiant ECUnet, a'u parodrwydd i rannu profiadau (sydd yn aml yn anodd) y maent r,vedi dclerbyn trwy gyrnryd y cam dewr i fi,vrrv ymlaen 0'u gyrfa fel digrifivr. Mae'r'llawlyfr yn dod i ben trwy ystyried y cyf'eiriadau cyffrous y bydclant yn ar.wain Theatr y Gorthrymedig iddynt a dyna ble mae'r antur far,vr wirioneddol yn cychwyn. Anna Giftbrd

Serbia Postoji veoma praktidna svrha ovog prirLrdnika i toje da ponudi okvir <slikanje brojevima> za odskoro trenirane dZokere. lstina je da samo dinjenjem neko zaista moZe nauditi da dZokeruje, ali teror pravljenja tog prvog koraka desto vodi do krga da se mnogi nikada ne odlude na tu nkciju. Imaju6i to u vidu nudimo korak po korak vodid zu radionice (<Orounding-Uzemljenje>) koga prare studije radionica koje su isprobavali dZokeri sa najrazliditijim grupama <Exploring-lstraZivanje>). DZokeri koji su doprineli ovom prirudniku su umetnici i ekukatori sa sopstvenim oblastima struinosti.

Biio bi nemarno ne iskoristiti priliku fokusiranja tih strudnosti u procesu rada na Teatru potliidenih, tako t.la je u prirudnik ukljudena i kolekcija eseja o Teatru potladenih u odnosu na primenljive, specifidne oblasti i stilove pozori5ta (<Refl ecting-Refl eksije>).

Ova knjiga je izalla zahvaljuju6i dudesnom bratstvu spretnih i vrlo motivisanih udesnika projekta ECU-net treninga i njihove volje da podele desto vrlo teike lekcije koje su naudili hrabro preuzimaju6i taj prvi korak ka dZokerovanju. Kuda 6e oni odvesti Teatar potladenih je uzbudljiv vidik sa kojim se ovaj prirudnik zavr5ava i gde avantura zaista podinje. Anna Gitforcl

Romania Aceastl carte are un scop foarte practic: sd ofere o suitd de repere pentru jokerii abia forma[i. Este adevirrat cd pofi deveni joker numai prin practic.{, dar frica de a face primii paqi ii poate determina pe unii sd nu-i mai faci deloc. De aceea am conceput primul capitol - Gromtding, ca pe Lln model de desfdgurare pas cu pas a unui atelier de lucru, urmat de capitolul Exltloring, o colec{ie de studii de caz ale jokerilor care au aplicat modelul propus in lucrul lor cu diferite grupuri lintii. Jokerii care $i-au adus contribulia la acest manual s.lnt cu tolii arti$ti gi pedagogi, flecare avind o anumit6 zonl de expertiz5. Ar fi fost o neimplinire sI nu fi folosit p1'ezenta ocazie pentru a pune in eviden!5 expertiza lor cu privire la procesele ce au loc ?n Teatrul Oprimalilor (TO). Este motivul pentru care am inclus secEiunea Reflecllrzg, unde am grupat eseuri referitoare la metodele TO ?n relalie cu zone specifice ale apliclrii acestora.

Apari(ia cirlii se datoreazd in primul rind spiritului uimitor de liaternitate ai parlicipanlilor la proiectul ECU-Net, persoane extrem de talentate si motivate, precum qi dorin[ei lor de a impdrtXgi lec(iile adesea dificile pe care le-au invilat cind au pigit cu curaj in activitatea de joker. Manualul de fa(i se incheie cu capitolul Reflecting, ce acoperd zona in care ei consiclerd c[ Tetrtrul Oprimalilor este o perspectivl incitanti gi unde aventura incepe cu adevirat. Finalmente, mullurniri lui Augusto Boal pentru contribulia adusir prin articolul s5u. Anua Gifford

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France Donc ce livre a un br-rt pratique et il offre un cadre de < peinture par nomble )) Aux nor,rveaux < jokers > qui sont fornt6s. l1 esr vrai que c'est seulement en le pratiquant que l'on apprend vraiment d 6tre un joker mais la peur cle suivre cette pretnidre dtape :.-

alrlenerdnejamaisrienfairedutout.C'estdanscetespritquenousoflronsunguided'atelier'<pasiLpas>(chapitre t).

Suivipardes6tudes de cas

la part desjokers qui esssayent cle faire rles ateliers avec toutes sol'tes de groupes (cirapitre 2 ont contribu6 d ce livre sont tous des artistes et des 6ducateurs qui ont leurs propres exp6rience du terrain.Ceseraitdotnrnagedenepasutilisercetteopportunit6 de se conceutt'cr sur ccs cornpdtcnces du processus cle l'opprim6.

Alorsilest6galement inclus une s6rie d'essai sur le th66tre de 1'opprimd en rapport avec cies chanrps d'application et du style C: th66tre (chapitre 3 - reflexion). Plus que tout, ce livre represente la surprenante fratemit6 des participarrts trds motives et qualir.:. qui ont participd d la formation ECU net et leur volontd de partager des legons, souvent difficiles qu'ils ont appris de cette coLlrageuse entreprise de Joker. La lagon dont ils regardent le < T0 ) comme une perspective iascinante, celle qu'orr retrouve a -. fin du livre (chapitre 3) et celle oi l'aventure commence reellement. Anna Gill'ord

exploration). Les jokers

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qr,ri

Macedonia Celta na ovoj prira-nik e mnogu prakti'na, a taa e da in.r se ponudi na novoobu-enite xoketi eden vid na "napriivi sam" vodi-. Vistina e dcka samo preku prakti-na rabota mo'e vistinski da se nau-i kako da se xokeruva, no riasot na prevzemawe nir ovoj prv -ekor mnoguminri nro'e cla gi obezhrabri icla gi navede nikoga{ da ne go prevzemat toj -ekor. Iniaj}i go ova na unr. ni: nudime -ekor-po--ekor vodi- za rabotilnici ("Grounding"), prosleden od studii na slu-ai na xokeri koi gi isplobale rabotilnicite so najrazli-ni vidovi na grupi ("Exploring"). Xokerite koi dadoa svoj pridones za ovaa kniga se urnetnici i ecil-rkatori so svoja sopstvena oblast na stru'nost. Bi bilo neodgovorno da ne se iskoristi ovila mo'nost za cla se naso^i tat stru-nost nu

[)roccsot

na

TO (theatre of the oppressed=teatar na ugnetenite), iaka {to vo knigaia e isto taka vklu-ena zbirka esei za TO vo vlska

spe-ifi'nite oblasti

na primena

i stilovi

so

na teatar.

Toa {to prira-r.rikov voop{to izleze se dol'i na neverojatnoto bratimstvo na ve{tite i visoko motivirlni u-esnici vo ECUnet treningot i nivnata spremnost da gi spodelat -esto te{kite lekcii koi {to gi nau-i1e pleku svoite hlabri odluki cia go prevzemat -ekorot ldre-en xokeruvalve. Kade se tie ]e go odnesat TO e eden vozbudliv prospekt so koj ovaa kniga zavr{uva i kade vistinskata avantura vsu{nost zapo-nLlva. Anna Giffbrd

Estonia Antud kiisiraamatul on v;iga praktiline eesrnirk, mis kannab endas soovi pakkuda kincllat todraamistikku iisja kooiitatucl foorurnteatri Jokkeritele. Ehkki tegelikult saab Jokkeri rolli 6ppida ainult llibi praktika, v6ib pal.judele saacla takistuseks suur hirm esirnese sammu astulxise ees sel teekonnai. Oma raamatus pakurne me sammhaaval iilestiihenclatircl kirjelclusi tootubadest (Grounding), millele jiirgnevad erinevate Jokkerite kogemuste kirjeldused, mis saadud tootacles mitmesuguste inimgluppidega (Exploring).

Antud klisiraamatu si.innile kaasa aidanud Jokkerid on oma ala asjatundjatest kunstnikr-rd ja hiiridusvaldkonna tootajacl. Oleks kaottts, kui jitaksirne kasutamata v6imaluse siduda neid valdkondi Rerhutute Teatriga (TO, The Theatre of The Oppressecl) ja selle1 eesmiirgil on kiisiraamatusse lisatr-rd ka esseed, milles kiqeldatud R6hutute Teatri-ga seotnd, kuid mingites spetsiifilistes eluvaldkondades eri teatrimeetodite rakendamise kogemusi (Reflecting).

Kiisiraan-rat on saanud teoks tiinr.r ECUnet koolitustel osalenud inimestele, kes on oma trios k6rgelt motiveerituci ja valmis.jrgarna

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ka oma raskeid 6ppetunde, rnis saadud esmakordselt Jokkeri rolli katsetarnisel. Kiisirnus - kuhu need irrimeseil liiguvad koos Riihutute Teatriga ja mille ette nad ta rakendavad? - on pOnev ja sellega ka antud kiisiraamat i6peb (Reflecting). Seal tegelikult algabki seiklus. Anna Gifford

Bulgaria

nte $opyr,t reartpa/. Bnpno e, qe caMo qpe3 npaKruKa qoBeK Moxe Harrcrv+a Aa ce HayrJil Ha "xoxepcreo'i Ho Ha ra3il nbpBa crbnKa Moxe Aa Bb3npe MHo3ilHa. Ero :au1o B qacr 1 "O6yveHue" npenfiaraMe pbKoBoAcTBo 3a npaKrilqecxa pa6ora "crbnKa no crtnxa'i nocne.qBaH oT,qoKyMeHrtApa{w pe3ynTaTr npil peaail3ilpaHeTo My AttcKycttn

crpaxbr or npeAnpueMaHero

or onilTHl4 xoKepil, pa6orwnu c pa3nilLrH14 rpynu /vacr 2 -"ltlscnegaaHe"/. Bcrqxil xoKepil, AonpilHecnm 3a ro3rr HapbqHilK, ca aprrcrut w o6yuutenw B cBorra o6nacr. 6v 6uno xanKo Aa He ce r3noli3Ba rexHfir onilr B npaKrilKyBaHero Ha T[1 /Tearrpa xa norilcHarilTe/.Bqacr3"Pazr'ancn4"caBKIiloqeHil TeKcroBeBbpxyclu.lHocrraHaTnetsBpb3Kacpa3nuqHilTeByr,qoBeHeToBr4 npilnoxeHt4ff.

Toea,

verosr

HapblrHNKe peanil3rpaH 6naropapeHue xa:a6enexilTeflHoro cbrpyAHilqecrBo Ha onilTH14

14

Br/coKo MorrByrpaHil

EBponerircrara Mnagexxa KynrypHa Mpexa /ECUnet training/ /r ToroBHocrra fiM Aa cno.qerflr TpyAHr'lTe ypoql4 Ha xoKepcrBoTo. HapbL{H14Kbr 3aBbpr.uBa c BbnHyBaula nepcneKrilBa 3a TI-l - ran KbAero npilKnrcqeHilero HailcrilHa 3anoqBa / qacr3 r'Pazr'tucnri'l. Anna Gifford yqacrHt4t-lt4 e o6yveHutero Ha

Italy C'd un intento molto pratico in questa guida, ed d quello di ofTrire un quadro di rif'erimento composito e pratico pel joker novizi.

E' vero che si impara a fare il joker solo mentre lo si fa, ma il terrore di fare il primo passo pud portare molti a rinunciare. E' pensando a questo che abbiamo concepito un una guida passo per passo allarealizzazione di un rvorkshop (Parte I), seguita dai resoconti di jokers che hanno attLrato questo modello di workshop con gruppi di vario genere (Parte II). I Jokers che hanno contribuito arcalizzxe questa guida sono tutti artisti ed educatori con uno loro specifico campo di esperienza. Sarebbe stato una perdita non usare questa opportunitiL per focalizzare questa diversiti di esperienze, percid abbiamo aggiunto una serie di saggisul TdO in relazione a specifiche aree di applicazione e stili teatrali (Parte III). Anna Gifford

E'stato possibile realizzare questa guida grazie alla meravigliosa cooperazione di abili e motivati partecipanti all'addestramento ECUnet, in particolar modo grazie alla loro volonth di condividere Ie spesso difficili lezioni che hanno imparato nel loro coraggioso percorso di iniziazzione all'attivitd di ioker. Dove essi ariveranno con il TdO, d un'interesante prospettiva che chiude questo libro (Par1e III) e apre la vera avventura, da adesso in poi. Anna Gifford

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