A Silent Revolution: 'Image Theatre' as a System of Decolonisation
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| Title: | A Silent Revolution: 'Image Theatre' as a System of Decolonisation |
|---|---|
| Language: | English |
| Authors: | Perry, J. Adam |
| Source: | Research in Drama Education. 2012 17(1):103-119. |
| Availability: | Routledge. Available from: Taylor & Francis, Ltd. 325 Chestnut Street Suite 800, Philadelphia, PA 19106. Tel: 800-354-1420; Fax: 215-625-2940; Web site: http://www.tandf.co.uk/journals |
| Peer Reviewed: | Y |
| Page Count: | 17 |
| Publication Date: | 2012 |
| Document Type: | Journal Articles Reports - Research |
| Descriptors: | Theater Arts, Creative Activities, Social Change, Instruction, Learning, Foreign Countries, Children, Migrant Workers, Drama Workshops, Aesthetics, Holistic Approach |
| Geographic Terms: | Canada, Canada (Toronto) |
| DOI: | 10.1080/13569783.2012.648991 |
| ISSN: | 1356-9783 |
| Abstract: | This article summarises the ways in which Image Theatre, a practice originally developed by Augusto Boal which continues to be developed in the hands of applied theatre practitioners and critical arts educators worldwide, can be used as a pedagogical and dramaturgical system of decolonisation at the level of communities and individuals. Through reference to two examples from my own work, I argue in this article that Image Theatre is a unique cultural practice that can be used to facilitate counter-discursive stories that are shaped by participants' invitation to play in the space between aesthetic representation and social reality. In this way, Image Theatre may invoke an in-between space similar to the post-colonial concept of hybridity which offers educators a way of transforming and reinventing meaning as well as creating new strategies for decolonising practice. |
| Abstractor: | As Provided |
| Number of References: | 30 |
| Entry Date: | 2012 |
| Accession Number: | EJ963597 |
| Database: | ERIC |
| Abstract: | This article summarises the ways in which Image Theatre, a practice originally developed by Augusto Boal which continues to be developed in the hands of applied theatre practitioners and critical arts educators worldwide, can be used as a pedagogical and dramaturgical system of decolonisation at the level of communities and individuals. Through reference to two examples from my own work, I argue in this article that Image Theatre is a unique cultural practice that can be used to facilitate counter-discursive stories that are shaped by participants' invitation to play in the space between aesthetic representation and social reality. In this way, Image Theatre may invoke an in-between space similar to the post-colonial concept of hybridity which offers educators a way of transforming and reinventing meaning as well as creating new strategies for decolonising practice. |
|---|---|
| ISSN: | 1356-9783 |
| DOI: | 10.1080/13569783.2012.648991 |
