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Encounter theatre as a means of soci...

Coleman, David D., II.

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Encounter theatre as a means of social change and empowerment.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Encounter theatre as a means of social change and empowerment./
Author:	Coleman, David D., II.
Description:	459 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1182.
Contained By:	Dissertation Abstracts International65-04A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3128901
ISBN:	0496761614

Encounter theatre as a means of social change and empowerment.
Coleman, David D., II.

Encounter theatre as a means of social change and empowerment. - 459 p.

Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1182.

Thesis (Ph.D.)--Lesley University, 2004.

Encounter Theatre as a Means of Social Change and Empowerment is an analysis of the principles and application procedures for the use of Participatory Theatre (a form of Interactive Theatre), that is conceived, developed, and produced as an educational and therapeutic tool in addressing social, cultural, and political issues in varying communities. My theory for the Encounter Theatre approach is holistic in nature, where thematic objectives are discussed, analyzed, and unanimously agreed upon and equally shared by the participants before the encounter theatrical challenge begins.

ISBN: 0496761614Subjects--Topical Terms:

522973
Theater.

Encounter theatre as a means of social change and empowerment.
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245 1 0 $a Encounter theatre as a means of social change and empowerment.
300 $a 459 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-04, Section: A, page: 1182.
500 $a Adviser: Sharlene Cochrane.
502 $a Thesis (Ph.D.)--Lesley University, 2004.
520 $a Encounter Theatre as a Means of Social Change and Empowerment is an analysis of the principles and application procedures for the use of Participatory Theatre (a form of Interactive Theatre), that is conceived, developed, and produced as an educational and therapeutic tool in addressing social, cultural, and political issues in varying communities. My theory for the Encounter Theatre approach is holistic in nature, where thematic objectives are discussed, analyzed, and unanimously agreed upon and equally shared by the participants before the encounter theatrical challenge begins.
520 $a Most Participatory Theatre approaches focus either on the process of developing the product (educational theatre experience) or on the completion of the product (the play itself) never on both. Encounter Theatre combined the best of both; the process of developing periods of engagement that affect social change, and developing and mounting a product, the performance piece, that is empowering, engaging, and all who share in the experience gain newer insights and are stimulated to respond objectively.
520 $a The Encounter Theatre concept has five main components: Pre-Stage, Developmental Stage, Production Stage, Social Change Stage, and Empowerment Stage. Through the use of Encounter Theatre be it with youth, adult or community groups; amateur, semi-professional, or professional; community participants and artisans develop a work that absorbs their collective experiences and transforms their individual and collective knowledge in to a product that is beneficial educationally, communally, and artistically. In all applications of Encounter Theatre participants have a collective voice in the process and the product, resulting in empowering participants with the means to affect social change; this is the Encounter Theatre philosophical foundation.
520 $a I have developed in my approach to theatre and community development, a play titled, Words of Reflection, a trilogy of one-act plays, each running approximately 50 minutes, offers participants a unique Encounter Theatre experience. As a learning tool participants experience history in the making thus come away with a more personal awareness of the people, places and events in history. As a social tool participants experience, often for the first time, what it feels likes to walk in someone else's shoes. As an empowered tool participants are energized with this new knowledge; participants are challenged to impart this learned information on others, thus extending the encounter beyond the performance space. My dissertation considers these themes and factors in the history of Boston's Black community that are explored in this trilogy. (Abstract shortened by UMI.)
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773 0 $t Dissertation Abstracts International $g 65-04A.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3128901