Theatre for Youth Third Space

Stephani Etheridge Woodson

Description

Theatre for Youth Third Space is a practical yet philosophically grounded handbook for people working in theatre and performance with children and youth in community or educational settings. Presenting asset development approaches, deliberative dialogue techniques and frames for building strong community relationships, Stephani Etheridge Woodson shares multiple project models that are firmly grounded in the latest community cultural development practices. Guiding readers step by step through project planning, creating safe environments and using evaluation protocols, Theatre for Youth Third Space will be an invaluable resource for both teaching and practice.

Acknowledgments

Foreword—Michael Rohd 

Introduction 

Section 1: Field Building—or—the Twenty Principles of TFY Third Space 

1.1 TFY Third Space 

1.2 Public Art and Communities of Belonging and Location 

1.2.1 Words over Water 

1.2.2 River Then, River Now, River Future 

1.3 Children and Youth 

1.4 Further Defining “Public”

1.5 Placemaking as a Function of Public-Making 

1.5.1 Physical Space and Social Place

1.5.2 Placemaking 

1.6 Community Cultural Development 

1.7 Deliberative Democracy and the Politics of Representation 

1.8 Defining Community 

1.9 A Pause to Build Field Theory in CCD with Children and Youth 

1.10 A Brief Introduction to Capital and Cultural Economies 

1.11 Expanding Capital Systems

1.12 Defining Development

1.12.1 Positive Youth Development

1.12.2 Defining Development within the Capabilities Approach

1.13 Good Work 73

1.14 Field Theory in CCD with Children and Youth, Part 2: Linking Capital and Development 

Section 2: Ethics, Leadership, and Facilitation 

Introduction 

2.1 Starting From Where You Are: Ethics and Pluralism 

2.2 Culture, Values, and Beliefs 

2.3 Diversity and Difference 

2.4 Power and Status 

2.5 Hegemony 

2.6 Putting Ethics and Pluralism Together 

2.7 Authentic Leadership

2.7.1 Openness and Emotional Honesty

2.7.2 Lateral Management Structures 

2.7.3 Reciprocity 

2.8 Healthy Ensembles 

2.8.1 Dialogue and Positive Communication

2.9 Fostering Creativity 

2.9.1 Domains, Fields and Circulating Symbolic Meanings 

2.9.2 Individual Creativity 

2.9.3 Raw Materials and Group Creativity 

2.9.4 Creative Processes 

2.10 Theatre and Performance Skills 

2.11 Facilitating Creative Processes and Products 

2.11.1 Studio as a Space of Games and Play 

2.11.2 Spiral Devising 

2.11.3 Compositional Practices and Aesthetic Considerations 

Section 3: Partnering, Project Management, Planning, and Evaluating Thinking through Community

3.1 Partnering to Foster Change and Social Transformation 

3.2 Barriers to Working Together

3.3 Qualities Helpful to Overcoming Barriers

3.4 Conceptualizing Projects 

3.5 Project Frames 

3.6 Articulating a Theory of Social Change 

3.6.1 Reeler’s “Emergent Change” 

3.6.2 Reeler’s “Transformative Change” 

3.6.3 Reeler’s “Projectable Change” 

3.7 Project Planning, Proposals, and Management 

3.7.1 Project Planning 

3.7.2 Proposal Components 

3.7.3 Project Proposal Example

3.7.4 Project Management

3.8 Documentation, Evaluation, and Assessment 

3.8.1 Documentation 

3.8.2 Specialized Research Terminology 

3.8.3 Rigor 

3.9 Final Project/Partnership/Program Reports 

Works Cited

Sujets

• Performing Arts
• EDUCATION
• Theatre
• General officer
• General

Informations

• Publié par: Intellect Books
• Date de parution: 23 juillet 2015
• Nombre de lectures: 0
• EAN13: 9781783205325
• Langue: English
• Poids de l'ouvrage: 9 Mo

Extrait

Etheridge
Woodson
Stephani Etheridge Woodson
“As a practitioner and scholar of community-based theatre
practice, I am so excited to have one source to go to for research
specific to our work. I will be citing this book in my upcoming
research for sure. How exciting to have a text dedicated
specifically to our field.”
Gillian McNally, Associate Professor, School of Theatre Arts
and Dance, University of Northern Colorado
This book answers the question: how do we use theatre and
performance to make the world a better place together? Theatre
for Youth Third Space is a practical yet philosophically grounded
handbook for people working in theatre and performance with
children and youth. Presenting asset development approaches,
deliberative dialogue techniques, and frames for building strong
community relationships, Stephani Etheridge Woodson builds a
solid foundation for a diversity of creative possibilities firmly
grounded in the latest community cultural development practices.
Stephani Etheridge Woodson directs the MFA and PhD programs
in Theatre for Youth in the School of Film, Dance and Theatre at
Arizona State University. PERFORMANCE, DEMOCRACY,
AND COMMUNITY CULTURAL DEVELOPMENT
intellect | www.intellectbooks.comTheatre for Youth Third Space
05318_FM_i-xvi.indd 1 7/13/15 9:28:15 AM05318_FM_i-xvi.indd 2 7/13/15 9:28:15 AMTheatre for Youth Third Space
Performance, Democracy, and Community
Cultural Development
Stephani Etheridge Woodson
intellect Bristol, UK / Chicago, USA
05318_FM_i-xvi.indd 3 7/13/15 9:28:15 AMFirst published in the UK in 2015 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2015 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright © 2015 Intellect Ltd
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording, or
otherwise, without written permission.
A catalogue record for this book is available from the
British Library.
Series: Theatre in Education
Series ISSN: 2049-3878
Cover designer: Stephanie Sarlos
Copy-editor: MPS Technologies
Production manager: Jessica Mitchell
Typesetting: Contentra Technologies
Print ISBN: 978-1-78320-531-8
ePDF ISBN: 978-1-78320-532-5
ePUB ISBN: 978-1-78320-533-2
Printed and bound by Short Run Press, UK
05318_FM_i-xvi.indd 4 7/23/15 7:37:15 PMI dedicate this book to the Hudson Manor Culture and Mayhem Society, who
over the years have taught me to understand engaged children and youth:
Chelsea, Alix, Lenox, Max, Getamesay, Laxmi, Prakash, Mia, Johnny, Ava,
Lily Z. Luca, Aurora, Iris, Adele, Maeve, Esmée, Tehya, Forest, Lily R., Emma,
Claire, Louis, and especially Maddie T. who once, when I really needed it,
was impressed.
05318_FM_i-xvi.indd 5 7/13/15 9:28:15 AM05318_FM_i-xvi.indd 6 7/13/15 9:28:15 AMContents
Acknowledgments xi
Foreword—Michael Rohd xiii
Introduction 1
Section 1: Field Building—or—the Twenty Principles of TFY Third Space 9
1.1 TFY Third Space 12
1.2 Public Art and Communities of Belonging and Location 17
1.2.1 Words over Water 18
1.2.2 River Then, River Now, River Future 20
1.3 Children and Youth 23
1.4 Further Defning “Public” 26
1.5 Placemaking as a Function of Public-Making 28
1.5.1 Physical Space and Social Place 28
1.5.2 Placemaking 29
1.6 Community Cultural Development 32
1.7 Deliberative Democracy and the Politics of Representation 34
1.8 Defning Community 37
1.9 A Pause to Build Field Theory in CCD with Children and Youth 42
1.10 A Brief Introduction to Capital and Cultural Economies 46
1.11 Expanding Capital Systems 49
1.12 Defning Development 58
1.12.1 Positive Youth Development 58
1.12.2 Defning Development within the Capabilities Approach 66
05318_FM_i-xvi.indd 7 7/13/15 9:28:15 AMTeatre for Youth Tird Space
1.13 Good Work 73
1.14 Field Theory in CCD with Children and Youth,
Part 2: Linking Capital and Development 78
Section 2: Ethics, Leadership, and Facilitation 83
Introduction 85
2.1 Starting From Where You Are: Ethics and Pluralism 88
2.2 Culture, Values, and Beliefs 90
2.3 Diversity and Diference 95
2.4 Power and Status 103
2.5 Hegemony 107
2.6 Putting Ethics and Pluralism Together 111
2.7 Authentic Leadership 114
2.7.1 Openness and Emotional Honesty 116
2.7.2 Lateral Management Structures 116
2.7.3 Reciprocity 117
2.8 Healthy Ensembles 119
2.8.1 Dialogue and Positive Communication 124
2.9 Fostering Creativity 129
2.9.1 Domains, Fields and Circulating Symbolic Meanings 131
2.9.2 Individual Creativity 133
2.9.3 Raw Materials and Group Creativity 135
2.9.4 Creative Processes 138
2.10 Theatre and Performance Skills 142
2.11 Facilitating Creative Processes and Products 146
2.11.1 Studio as a Space of Games and Play 146
2.11.2 Spiral Devising 154
2.11.3 Compositional Practices and Aesthetic Considerations 157
Section 3: Partnering, Project Management, Planning, and Evaluating 161
Thinking through Community 163
3.1 Partnering to Foster Change and Social Transformation 166
3.2 Barriers to Working Together 173
viii
05318_FM_i-xvi.indd 8 7/13/15 9:28:15 AMContents
3.3 Qualities Helpful to Overcoming Barriers 177
3.4 Conceptualizing Projects 180
3.5 Project Frames 184
3.6 Articulating a Theory of Social Change 186
3.6.1 Reeler’s “Emergent Change” 188
3.6.2 Reeler’s “Transformative Change” 190
3.6.3 Reeler’s “Projectable Change” 193
3.7 Project Planning, Proposals, and Management 197
3.7.1 Project Planning 197
3.7.2 Proposal Components 207
3.7.3 Project Proposal Example 211
3.7.4 Project Management 217
3.8 Documentation, Evaluation, and Assessment 220
3.8.1 Documentation 221
3.8.2 Specialized Research Terminology 222
3.8.3 Rigor 225
3.9 Final Project/Partnership/Program Reports 233
Works Cited 237
ix
05318_FM_i-xvi.indd 9 7/13/15 9:28:16 AM05318_FM_i-xvi.indd 10 7/13/15 9:28:16 AMAcknowledgments
I would not have been able to complete this work without the learning
environment and deep history of Arizona State University’s (ASU) School
of Film, Dance and Teatre’s Teatre for Youth program. Te students
and faculty there demand the best of themselves and others. Tey ask the
hard questions and creatively challenge themselves—and me. Tank you.
In particular, I want to recognize past and present CCD artists: Ashley
Hare, Elizabeth Sullivan, Haley Honeman, Megan Flod Johnson, Megan
Hartman, Miranda Giles, Rivka Rocchio, Leslie Stellwagen, Sarah Sullivan,
and Xanthia Walker. I especially acknowledge Megan Alrutz who told me,
“Yeah, interesting, but I miss all the personal stories. Where are all your
stories?” Megan, I put them all back in for you (plus one fart reference for
Andy Waldron). I also want to thank my beta readers who gave generously
so that this text might be better: Elizabeth Johnson, Linda Essig, Pam Korza,
Sylvia Gale, and Tamara Underiner, and the students in the 2014 and 2015
community-based theatre classes, y’all rock. Special thanks to the Dark Circle
who fed me butter, sugar, and booze, kept me honest, and once put out a fre
in my kitchen. I could not ask for a better community. And of course, my
family but particularly Kyle Woodson, who shows me every day how to be a
better person with his grace, mad skills in garbage disappearance, delight in
the ridiculous, and snarky sense of humor.
05318_FM_i-xvi.indd 11 7/13/15 9:28:16 AM05318_FM_i-xvi.indd 12 7/13/15 9:28:16 AMForeword
Recently, I was working with employees of a Chicago City Department on
a project described as an arts-based collaborative visioning process. Afer
lots of small group work, it brought together supervisors and staf from this
department’s sites around the city for the frst time to engage together in
identifying shared challenges and build problem-solving strategies. As the
work progressed, something became clear: these city employees experienced
their role in a large bureaucracy as so disempowering that when it came time
to imagine possible visions and tactics, they could not release the voices of the
system in which they were embedded. Tey could not enable themselves to
see possibilities outside their daily lived experience.
In this instance, it was my job to help craf a space where possibility was
present. Crafing that space is:
• To participate in a collective act that moves from invitation to engagement
to refection, again and again.
• To consider self, and group, and theory, and practice.
• T odo ,t ole a r n,t og r o w ,a n dt oc h a n g e .
When we make art, when we teach, when we guide—when we lead—we take
on the responsibility of intentionality. Intentionality requires an awareness
of self, action, and consequence. It requires the ability to assess and respond.
Tis is hard, complex work. With this book, Stephani Etheridge Woodson has
generously contributed to the feld (or felds, as I will suggest below) a map.
Not a recipe, nor a formula, but a set of considerations and proposals. Which
is exactly what we need when we make space.
I met Stephani years ago; I actually don’t remember when and where. We
may have taken a Teater of the Oppressed workshop together (Augusto
Boal) in the mid-1990s. We may have crossed paths at an annual Association
of Teater and Higher Education conference. We may have frst connected at
ASU when her colleague Johnny Saldaña brought me in to give master classes
on the work of my theatre company, Sojourn Teatre. Regardless of when
05318_FM_i-xvi.indd 13 7/13/15 9:28:16 AMTeatre for Youth Tird Space
and how we met, I’ve known her a little for a long time. And Stephani has
always been someone whose work I’ve heard about and thought, “Wow, that
seems really interesting. I wish I knew more about that.” In particular, I was
fascinated with what I observed as a passionate interest in the leadership of
arts-based work with young people.
I had