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A THESIS
Submitted By:
TALIA WEISS
LESLEY UNIVERSITY
GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES
August
2010
THE THERAPEUTIC ASPECTS OF COMMUNITY THEATER:
THE PERSPECTIVES IN DEVELOPING COUNTRIES
Abstract
therapeutic gain.
2
Table of Contents
Introduction ………………………………………..
……………………………………… 3
Rationale, Benefits of Research,Personal Connection
Literature Review………………………………..
…………………………………….. 6
Community Theater ………………………………..
…………………………………….. 6
Definition and Description, Method and Practice, History
Therapeutic Aspects
………………………………………………………………………
9
Catharsis, Control, Empathy & Mirroring, Expression,
Empowerment & Motivation, Resurfacing of Repressed Emotions,
Self-Esteem & Self Confidence, Sense of Self & Roles,
Spontaneity & Creativity, Therapeutic Setting/Safe Space and
Containment, Transformation, Validation.
Methodology
………………………………………………………………………………..
24
Results
………………………………………………………………………………
…….. 27
Interviewees and Countries
………………………………………………………… 27
Bangladesh, Ethiopia, Ghana, Guatemala, India, Kenya, Mexico,
Mongolia, Nepal, Palestinian Territories, Thailand, Tanzania,
Venezuela, Zambia & Namibia.
3
Results by Therapeutic Aspect
…………………………………………………….. 54
As seen above.
Discussion
………………………………………………………………………………..
75
Conclusion, Witness, Benefit for Audience, Post Performance
Discourse, Process vs. Performance, Post Performance Discourse,
Importance of Therapist, Shock Value, Culture of Silence, Community
Theater Use in Developing Countries, Language Barrier, Effectiveness,
Biased Results.
Bibliography
………………………………………………………………………………
……. 93
Introduction
contentions.
4
The importance of disclosing the connection between community
respective fields.
for sensitive and delicate issues to arise as well (Moriarty, 1997). The
actors and the audience can be deeply affected by the process and the
5
In summer 2009, I was invited to facilitate community theater
groups for youth at risk in the region. The purpose of these groups was
not sure how this measure was avoided in other community theater
appropriate outlet.
theater which focuses on social change (Van Erven, 1991) have been
6
with these sort of populations, possibly initially combining community
way which combines therapy with community theater. This paper will
against disintegration.”
7
Literature Review
Community Theater
theater staff, and audience are all members of the community (Gard &
community.
dialogue. These stories, the framework for the scripts, are born from
the very lives of the actors who perform them. Community theater lies
8
the inclusion of their voice into the larger society. In many ways,
the framework for the group to create and finally perform a theatrical
the Van Erven’s other method, interviews are conducted around the
actors is at the least similar to the lives of the stories they are
performing and therefore in many ways still telling their own stories.
This method also lends the opportunity for the audience to have
substantial input.
far as the 1920s when New York Cornell University Professor Alexander
9
Drummond dubbed his stimulation program aimed at “fine original
theater”.
2003).
10
Therapeutic Aspects
11
Aristotle (1997), the forefather of catharsis, suggests it to be the
the form of a pinta which results in “healing”. This pinta is much like
(Zimbardo, 1985) i.e. Did I cause this or did this happen to me? The
control, i.e. feel they are in more control of their lives, are
1
J.L. Moreno is the forefather of Psychodrama.
12
improved physical health, mental health, and overall quality of life in
Norman & Bennett, 1995 for review) and drug abuse (Dielman et. al.,
briefly note some research on control and victims of trauma. Foa and
with PTSD. The authors suggest that, “Through repeated reliving of the
rape, you are going to gain control over your memories instead of
traumatic event.
“The capacity to think and feel oneself into the inner life of another
person.” Carl Rogers (1959) adds that the person maintains a strict
13
as he perceives them, but without ever losing the recognition that it is
respect" (Kohut, 1977). The parent reflects back to the child the
Additionally, Freud (1912) advises that the therapist be a mirror for the
patient.
14
Singer had the participants present characters from various plays and
understanding.
empathy and moral behavior. This coincides with what is often the
helps people gain control over their own lives… It is a process that
fosters power (that is, the capacity to implement) in people, for use in
issues that they define as important,” (Page & Czuba, 1999). Wilson
15
Community theater also serves as instigation for empowerment,
varying degrees at various times,” (Boon & Plastow, 2004). Blatner and
Blatner (1988) state that, “Activity and the use of techniques that
the patient.” While the authors were speaking about psychodrama, the
which are more in-sync with the popular belief that expression will
relieve the associated negative stress. Spett (2004) points out that the
16
Resurfacing of Repressed Emotions Anna Freud (1966) continues
sexual abuse can be retrieved (Breuer & Freud, 2000). There seems to
accomplishing this.
Sense of Self and Roles Social Psychology, uses the term, ‘role’
theatrical term, role serves to define the boundary between the actor
17
Erik Erikson is accredited with initiating the popular catch phrase,
of the group, the way in which group roles reflect actual life roles, and
otherwise) versus the roles they already had in the actual community
sort of improvisation thus enabling them to, “take action for which they
lacked the courage in reality and to voice their views and emotions
18
manifests in a situation of variable degree of novelty,” (Moreno, 1978).
operates in the present, here and now. It is the energy which moves a
catharsis s/he will experience. Also, the more s/he is able to offer an
omnipotence’, the illusion that all his desires are immediately fulfilled
himself and mother as one self. Winnicott believed that the ‘holding
19
repair where it was lacking. This thesis will demonstrate that the
states), they were unable to come up with a definition for the term. In
people who have dementia. Respect is the key foundation for this
Universalization refers to, “The realization that one is not unique, that
20
there are others like oneself with problems either identical with or very
shapes the performance itself. This would support Elsass (1992) who
Previous Studies
therefore brings with it little concrete value. That being said, the above
22
article suggests that the term as used here refers to upshots coupled
empowerment.
23
achievement, rather than the actual creative process; a conclusion
tale (Snow, D’Amico, & Tanguay, 2003). The difference between this
theater group called ‘Hide and Seek’ in which the group was led by
both a theatrical director and a social worker. The group was situated
24
foremost outcome. The authors claim that the participants began to
take more risks and portray a decrease in anxiety about erring. The
translate from the group to the outside lives as well. One participant
therapy group that the participants even went through the group
community level was due to the focus on therapy and the presence of
a trained therapist.
The Centre and Hide and Seek pioneer the groundwork for the
the therapeutic aspects of their field, they will be able to utilize this
25
Focus on Developing Countries
focuses on social change (Van Erven, 1991), have been well received
26
warm-up to win the trust of the skeptical participants, whom in this
cope with their adversity. I would argue that developing countries are
theater brings with it its own set of cultural values, societal class
27
therapies may find a niche with these sort of populations, possibly
Methodology
The purpose of this research is to lay the foundation for the use
28
videos. I accumulated a mix of male and female subjects all above the
via e-mail, Skype, phone, and in-person. The interviewees were first
After this initial prompt, they were asked to provide missing factual
actors rather than some actors and some facilitators. However, most
29
Bampton and Cowton (2002) lay the foundation for research
interviews done via e-mail. They point out the advantages as being: 1)
to correspond. The fact that this means that the respondent will have
respondent will have more time to reflect and therefore may be able to
may have been thought out, the response may not be as spontaneous
and genuine.
Six of the interviewees (five women and one man) were involved
women from around the world about their views on sex, relationships,
violence against women, and the vagina. TVM is the foundation of the
30
performances of the show across the world between February 1 and
that TVM is not about vaginas rather, “how women are treated
the world can relate in some way to TVM and thereby its production by
Results
Interviewees and Countries
Bangladesh I interviewed Tasaffy Madani Hossain, age 26, who
served as the PR person, organizer, and actor for the 2010 V-Day
31
performance of TVM in Dhaka, Bangladesh. She completed her B.A. in
last 3 years. Born and raised in Dhaka herself, Tasaffy asserts that in
violence – these have come to be treated as the norm and the culture
the play did this on a personal level, based on our belief of feminism
None of us has had any real experience in theatre prior to this…I think
it was a greater push knowing that it had not been performed before
and cultural affairs of the country. Rape, assault, sex trafficking, and
2
Eve teasing is a euphemism used in Bangladesh, India, an Pakistan to denote public
sexual harassment (Hasan, 2010).
32
includes economic loss and humiliation. This patriarchal aspect of
sexuality.
Ethiopia TVM has been running in Ethiopia for at least the past seven
not direct and Bryan Renzi, 34, was asked to step in about one and a
half months before opening night. Although Bryan had never directed,
seen TVM, nor read the script, he was familiar with the theme of the
journalist, “got jaded”, and has been working as a high school English
33
and domestic violence, but it was underreported due to shame, fear, or
The all Ghanaian cast depicts the timeless tale of Cinderella with minor
Ghana in 2007 to celebrate his birthday. Over the course of her trip,
3
It was briefly considered to make this character a homosexual, but decided against
for fear that would hide other important issues.
34
for advocating for children’s rights and women’s rights. She says about
African Cinderella, “It was a really difficult project to give birth to, but I
and political productions; I want to make the world better and theater
is a tool.”
has witnessed an increase in child labor. This region also has the
Child Labor (2008) reports that 10.9% of Ghanian children ages 5-17
years are child laborers and do not attend school. Most work in
35
directed this piece in December 2009 making KKTCL the third theater
Kathy Knowles adds, “The show was about oppression and apartheid
but then overcoming it with a peaceful resolution. The last song was,
‘Peace is coming...’ The opera was easy to follow and its message
the capital city. Some of the actors were orphans, some not enrolled in
school.
died when he was 7 months old and father died when he was 8 years
old. At age 5, Martin moved in with his uncle and at 13, moved to
members at KKTCL.
rendered the area more violent and perilous (“Sharia in”, 2001).
Guatemala Marsha Pamela Lopez (age 29) served as the official 2010
and physical way for 5 years. Then at 19 I married him and after 10
months, I finally got out from that relationship.” Marsha was first
37
me to not go back with my husband who was abusing me.” She
brought it to her native country, “To give the Guatemalan people the
message that we urge them to end violence against women and girls.”
Guatemala. Marsha sighs at the end of our interview: “I live alone and
I’m happy.”
Guatemalan population lies below the poverty line. It faces many social
illegal, until 2004 the law provided that a rapist could escape charges
ignorance which they believe to be a core reason for the attacks. Three
38
Theater project in Wadala, a slum of Mumbai. The participants in the
for those who are not accepted into government schools. Prior to
executing the theater troop, the trio was trained by Manjul Bhardwaj,
raised in the United States. She got involved with Community Theater
when she joined the Brandeis Playback Society during her freshman
Mumbai, India. She has been a part of a few theater projects in school
and has worked with several NGOs mainly towards educating children.
39
Zohar tells me that the families living in the Wadala are nomadic;
they travel from their rural homes to stay in urban slums in order to
work in the city. She told me that they went door-to-door begging the
the trio facilitated the students to write a play about their lives and
future aspirations. Zohar explains, “It was about how the kids have
dreams, but they don’t feel people are listening to them.” Juhi defends
“When that's all these little kids know of what life is, its difficult for
with: “How can we keep on living in a world like this? How can we
reach the dreams we have if this is our world?” There were two
Parivartan, and AID Mumbai. The second was a street performance and
theater: “It’s not for the arts sake, but one that caters to human needs
40
and provides itself as a platform for expression.” The Experimental
has conducted more than 100 street theater workshops all over India.
with the Revive: Mumbai project and his other theatrical operations.
When asked why Manjul dedicates his life to street theater, he replies,
as it is used to fight child labor in India. I could not get in touch with
International Labor Organization (ILO)), but felt that their work was too
Mahesh, the director of the street theater. The narrator of their short
people and children from villages just like this one, who were
4
http://www.ilo.org/global/About_the_ILO/Media_and_public_information/Broadcast_m
aterials/Video_News_Release/lang--en/WCMS_114207/index.htm
41
victimized and exploited in hazardous work. The message is simple:
child labor.”
that of Prakash Garud who utilizes puppetry for the same purpose as
daring things. The puppeteer is behind the screen and can’t be blamed
With 25% of the population below the national poverty line (The
poor people in the world. The Ministry of Health and Family Welfare
Indians. The urban slums and poor rural areas are characterized by
stern laws outlawing child labor in India and Pakistan, these two
countries have the most child laborers in the world according to a May,
phrase “by the people, for the people,” (Lincoln, 1863). Formed and
5
http://www.youtube.com/watch?v=j_HnhYeMIMo
42
run by 8 tenants of the Kibera slum, Nairobi, KCYP aims to identify
community. The seven year old organization now has over 125
conscientiousness.6
etc. The team arrives at a street junction and mobilizes a crowd within
minutes using a technique they call “crowd pulling.” At the end of each
play, they ask the audience questions about what they saw which
matters.
reception, the interview with Kepha was short and with Richard,
6
For more information on KCYP, please see their website: www.kcyp.net.
43
Kepha demonstrated the remedial and beneficial aspects of community
theater.
has informal training in drama and founded KCYP after dropping out of
high school.
Nairobi, is the largest and most densely populated urban slum in sub-
The name 'Kibera' comes from the Nubian word 'kibra', meaning jungle
which reflects its dense urban jungle appearance. The dirty and
conditions, and lack of clean water (Kibera, The Forgotten City, 2006).
44
Additionally, 15% of the inhabitants have HIV/AIDS (Nairobi Slums:
Your Rights” Youth Campaign7, in Mongolia is, as far as I can tell, the
Rights Day, the group performed an original piece called, Blue Scarf for
one partner commits suicide. At the time, all the active members of
with campaign members wrote and performed Blue Scarf. Via a very
taught about LGBT rights issues in the Mongolia, the role of theater in
7
http://www.monfemnet.org/en_hands_up.php
45
Manager for the Mongolian Feminist Network8. She and her boss
about and take part in human rights issues. Zola explains, “In
seven years ago and used to work as a hotel manager for less hours
and more money. She left the for-profit world because she felt her
skills and passion could be best used in advocating for human rights.
underneath her piles of law school homework, to make time for Human
Rights Theater.
Your Rights” youth campaign, is also a lawyer. She asserts that “All
8
www.monfemnet.org.
9
Due to Mandkhai’s and Chinzo’s lack of fluency in English, most of what they said
was translated by Sunny and Zola.
46
I noticed a ring on Chinzo Tsa’s9 forefinger and asked if it is a
wedding band. He laughed and told me it is not, but his boyfriend gave
In late 2009 (coinciding with the debut of Blue Skarf), the LGBT
community attained legal regard for the first (and only) LGBT center in
and family. She alleges that much hate crimes against LGBT persons
are invisible.” She adds that the situation has worsened with “Neo-
10
For comprehensive explanation for country classifications, see United Nation’s
Development Program’s Human Development Indices report:
http://hdr.undp.org/en/media/HDI_2008_EN_Tables.pdf
47
“traditional” Mongolian values: “Swastikas have become a chillingly
long writing group with Eve Ensler (author of TVM) and 15 women at
writings from female inmates. Any One of Us: Words From Prison is
48
intended to insight healing, understanding, and change as well as to
Palestinian Territories
Palestinian refugee who was born and raised in Aida Refugee Camp.
Center. Nidal utilized and amalgamation of Augusto Boal11 and his own
wrote a full play about their lives as well as a play called, The Birds
the Israeli Defense Forces. Ironically, part of crew arrested before the
play.
11
The Theater of the Oppressed refers to a range of theatrical methods formulated
by theatre luminary Augusto Boal. This approach initiated in Brazil in the 1960s and
later made its way to Europe. In the Theatre of the Oppressed, the audience becomes
active, such that as "spect-actors" they explore, evaluate, and transform the
performance which is meant to be reminiscent of their reality (Boal, 1993).
49
Nidal tells me about his first-hand experience in Aida: “There is
so much political and social violence in the street in our refugee camp.
curfews, schools are closed…they [the residents] are poor and have no
anger inside the family because the poverty, because the political
teenagers as well.”
between the towns of Bethlehem and Beit Jala. The camp’s hardship
was worsened during the second intifada, when the school sustained
INAD Theater Group (Beit Jala) INAD12 Theater group in Beit Jala is
women’s rights and special needs populations) rather than the all-
INAD Theater, declares, “Not all of the conflicts are because of the
12
Meaning “stubborn”.
50
occupation, rather, we have interior problems as well.” INAD conducts
when he was nine years old and in 1987 founded INAD Theater
received his B.Ed. from Al-Quds Open University. Notorious in the Arab
discuss sex and religion, and offers workshops in such related fields as
mask-making. Khalid says about his work at INAD Theater: “It gives us
51
have a message to give. I have something to give to society. The best
repositioning, “There are many problems and social issues like child
with interior issues, “Because the ministries don’t work. They drink
coffee and smoke cigarettes. They don’t role up their sleeves.” Samia
plays to me; here are a few samples. The play called, Kepha (meaning
The play also illustrates the effect of this dynamic on the children.
Another highlighted play was Friday, which is the weekly day off in Beit
Jala. This play talks about the parent-child relationship, and explores
52
According to the Palestinian Central Bureau of Statistics13, Beit
made its residents prone to, and often a focus of, military and civilian
controversial barrier that would separate most of the West Bank from
13
http://www.pcbs.gov.ps/
53
Additionally, Samia informs me that there is little programming
rural ward Ukonga in Ilala district outside of Dar es Salaam city (the
Agnes was born and bred in Tanzania and worked at her father’s
Two plays emerged from this group. The younger children’s play
54
unwanted pregnancies. Both plays, including musical numbers, were
Jerusalem based theater group for social change and produced and
and stable for some time. (Seemingly, for this reason, it has been
55
with problems common to a developing country. According to the CIA
World Factbook (2007), Tanzania has the world’s 12th highest rate of
conveys:
produced That Takes Ovaries: Bold Females and Their Brazen Acts, a
spirited women from around the globe. Laura was born in San
Anytime you can give youth a safe place to voice thoughts about such
The CIA World Factbook (2006) places only 9.6% of Thai peoples
below the poverty line. While the economy has celebrated a solid
have not been as progressive. NGOs report that that domestic violence
and rape are a huge problem. The laws which prohibit these acts are
14
http://zontachiangmai.com/
57
not vigorously enforced and shelters and counseling services face
trafficking of women and children are illegal, they are often protected
the South Bronx, N.Y.C., Maribel graduated from Franklin & Marshall
Studies. Since then, she has received two grants that have transported
rights, and human rights. The second was a Fulbright English Teaching
during her sophomore and senior year of college. Maribel says about
58
where I worked, we endured recurring blackouts constantly (as the rest
was the problem of strikes and looting that brought violence onto our
open campus at any given moment and forced us all to evacuate. Mid-
toxic gases (mercury for starters), and consequently shut down our
Oriente-Sucre being that many of the topics covered in the show tend
population lived on less than $1 per day and 32% of the population on
less than $2 per day. Wagner (2005) discusses the history of the
women’s movement in Venezuela: “Up until the early 80s, married and
cohabiting women were not allowed to manage their own affairs, make
59
the mid-1980s forced middle and working class women to abandon
day.
year maternal break, she decided that TVM would be the play to
60
although the Zambian government has introduced many regulations
planning, many women and children are forced into the sex industry in
often, the perpetrator is charged with paying a fine to the family of the
(2005) asserts that while Namibian law favors the rights of women,
61
Results by Therapeutic Aspect
Control
62
2. Khalid explains INAD Theater’s lack of focus on the Mid-East
conflict, “And I try to say that we can’t always remain in the past.
brighter future.
remarry and bring in a new wife. Much of the time, she ends up
the community can relate: “If a family does not have sufficient
economic means to care for all their children, they will ask a
relative to care for their child instead. Often, the child ends up
63
4. Tasaffy elaborates on the reaction of the audience, particularly the
male audience: “TVM makes the audience laugh and cry and feel
and understand things that they didn’t think of. And what is the
best is that, that’s how even the men feel when they watch this
the same time simply based on the stories of women from around
the world. And everyone can relate to some part of each of those
some of the reasons why women feel the way they do. They sort of
themes are something that is taken from their life. And they can
15
I, unfortunately, could not reach Sanjiv Kumar for an interview. The information
about his project was mainly obtained from an internet video:
http://www.youtube.com/watch?v=OsWzWCFvVyA
64
6. Kalaj Natraraj, a puppeteer at Garud’s theater, asserts, “The
audience relates to the characters and they feel for the children in
7. Chinzo states that, “It would be great if this [Blue Scarf] could
rape and sexual abuse, she just gets sympathy and then becomes
despite this story being well known in the camp, when Shahid
10. Samia says that the play Kepha (Enough) was performed in a
65
as they are living it.” She says about the all-female audience,
12. Laura explicitly states: “The audience identified with it. They really
understood it.”
o Actor
“hit home” for her because she was in Yugoslavia “at the time of
the rapes.”
o Director
14. Nidal conveys, “I wanted to see it through their eyes. What do they
mother was there, and she did not really know what to expect, but
66
she loved it! She laughed and cried and came out of it with the
to know their strengths and love themselves for it’. These women
and women we didn’t even know came and hugged us and told us
how brave it was and how wonderful they had felt being there. And
only women, and you can almost breathe the power and liberation
[said that] after watching TVM she would end the situation.”The
the performance and talked about the way they had been abused
and that they will stop because [now] they know they can do it. So
Marsha recalls her first time seeing TVM: “I felt like it saved my life;
67
empowered me to not go back with my husband who was abusing
me.”
16
http://www.youtube.com/watch?v=ClR80x6lgHM
17
A supposed buried tribal rivalry surfaced in a violent eruption in Kenya following
the 2007 presidential elections. The aggressive response, resulting in countless
deaths and displaced persons, was the result of a tribal and ethnic rivalry. The
elected president, Mwai Kibaki, was a Kikuyu and his opponent, Raila Odinga, a Luo
(Post election violence in Kenya, 2010.) Kibera is predominantly Luo (Kibera, the
forgotten city, 2006).
68
became a great guy. He is now a radio presenter for a local fm
[radio] station.”
19. Kepha adds, “There are other great stories. One of our theater
had.”
20. Laura interprets “The Woman Who Loved to Make Vaginas Happy”
after watching the play with her husband, she demanded for better
sex. When the husband came before her as before, she demanded
that they start all over again. He promised to make it up to her the
following night. She took him on his promise the following night to
her.” June adds, “It was important because usually we don’t realize
what we can do; how great we are. It empowers you. You feel
important.”
18
“The Woman Who Loved to Make Vaginas Happy” is a monologue spoken from a
sex worker who discloses the captivating details of her career and her affinity for
giving women pleasure. At the end of the monologue, she demonstrates various
orgasms, closing with a "triple orgasm."
69
23. Maribel maintains that, “TVM is extremely therapeutic because in
o Actors
24. "I am here, get used to it!" sums up Tasaffy’s reaction to acting in
25. Bryan describes the period before opening night: “I feel that in the
most of which had never been on stage before. But on the day of
70
27. Martin witnessed how being involved can, “Increase motivation
project as his “Most remarkable life event.” It makes him feel that,
motivation.”
both on the street and on stage, all over India and also in Germany
the play or audience, more than 50,000 children are no longer child
laborers.
29. Sriya says, “The happiest moment for me throughout this whole
program was when Sahil shouted out saying that he was so strong
to feel strong and have the attitude that they can achieve
absolutely anything.”
when they grow up, she responded: “It’s the same as in America:
doctor, policeman, teacher, etc. They would play these parts. Now
71
they can see it as a possibility rather than not. Hope is a motivating
force.”
Will they understand? Will they come to the performance? But the
day of, I felt strong. I am not only doing this for myself, but for
people’s rights.”
Expression
32. Zohar remembers various stories about how the students utilized
the theater group: “One kid enacted his father coming home and
beating him. A girl student spoke out about how she wants an
education like her brother, that all girls should have an education.
The last part [of the platy] was about how one kid couldn’t stand
33. When asked “Why theater?” Juhi responded, “The focus was to let
comfortable with.”
72
about their problems. It is absolutely sometimes impossible. We
stage, they felt like I was doing a kind of therapy work and they did
not like it. They felt anxious facing each other in a circle talking
about and discussing their issues but the use of theater loosened
this tension in them and encouraged them to talk about it. We used
to sit in circles for two or three hours and all we did is argue: ‘We
‘We should make war’. If we sit in a circle the tension will come and
the whole discussion will turn to politics. But in the stage there was
This would really open the eyes of the audience: The teenagers in
pregnancy and so on. I never asked for the reasoning behind their
choices, but I could tell many of the women felt connected to their
given monologues.”
36. Nidal told me the story of an 11 year old girl, Shahid (also
her father called her for lunch and was subsequently shot by an
73
Israeli sniper. “She did not cry did not scream; she was in total
Shahid for months; their efforts noble, yet in vain. She began
stand on the stage and didn’t say anything for 3 or 4 minutes. Then
she would start talking about something else, friends, what she ate,
told her story through theater. Nidal imparts, “She stuttered a bit.
Before theater we had tried other mean like art, music, and dance.
The only way she did it was this type of theater work. It was
amazing.”
feel.”
Actor
74
they generally still feel the negative aftereffects of colonization.
Martin reveals that the actors were “very emotional” often crying
having the most beautiful women in the world (with the most
like "Hair"19 and "Angry Vagina" vocalize the thoughts that many of
these women would never dare to admit they have had and
43. Zohar bluntly states that the “main effect was self-confidence.”
44. Sriya agrees with her colleague, “The actors definitely gained self-
45. Manjul: “Then over a period their confidence is growing, that they
19
Monologue celebrating vaginal pubic hair. The tone is established in the first
sentence: “You cannot love a vagina unless you love hair.”
75
46. One of Manjul’s students asserts, “I love to act. I was really scared
feel so tall. My husband should have been here. I will bring him
tomorrow.”
their various learned roles: “You learn about how in this society, we
all learn how to play all those different roles – the colleague, the
manager, the homemaker, the mother, the wife, the ex-wife, the
daughter, the sister, the friend, the lover, the party-goer – and how
other, but somehow they don’t and somehow they all come
49. Fransesca says, “They now know something they didn’t before…
about themselves.”
50. Bryan talks about a set of Ethiopian twins who were cast to share
the “My Short Skirt”20 monologue: “They were extremely shy and
bashful, and being that the role called for them to be in-your-face,
20
“My Short Skirt” is a monologue suggesting that when a woman or girl wears a
short skirt, it is not a provocative measure; rather, it is meant to proclaim a state of
non-fear and ownership over one’s body.
76
confident divas ("I am here, and I am HOT"), they had a long way to
go… [They] certainly came a long way during rehearsals, and got
some of the loudest applause. And they had a perma-grin (not the
51. June explains that even as an audience member, new roles can be
uncovered: “It makes you think about what you can do and how
you think…To realize who you are and what you can do.”
52. She later adds, “It made me feel more like a woman, more
53. Nidal says about a performance which was written and rehearsed,
with their families and communities; they were able to learn about
54. Samia tells me about a Tamer, a lad with a mental handicap who
lives in Beit Jala. For the better part of his childhood, he has been
middle of the street and directing cars. Samia interprets this as him
77
Audience and Community
55. Zohar explains the lack of and subsequent need for the program’s
activites: “There’s trash everywhere. It’s dirty and muggy. The kids
how for some of them this was literally stepping out of their usual
positions.”
Actors
was a coming out of sorts for me...a breaking away from what
58. Nidal says that the children, “Used to react in camp without being
78
One female student proclaimed, “Why should I tell
you something which is so obvious?! I didn’t cum
and you know it,” (Sampa).
60. Bryan asserts that community theater allows for “…a wide
experience.”
place, “In Ghana, you don’t speak about things that are bad,
theater one does not have to speak; just listen and possibly relate:
girl in the audience come to me and talked about the way she was
63. Kepha asserts that the audience members would open up at the
64. Laura: At the end of the performance, women got up to tell their
own heroic stories. “It would have been difficult for them to do
79
this, but because they saw what other women did it [in the
the show has become an indispensible part of the play, if not more
has been the most recurring and controversial topic in every single
who had raised the issue in the discussions said they had never
applause.”
good and find it humiliating if it smells bad; not just in front of men,
talking to each other about the topic. The issue of the vagina
80
smelling was first raised at Windhoek College of Education and was
year old girls from the Northern Girls Conference was the most
revealing on how much rape and incest was going on, yet untold.”
women were able to say that how men behave is wrong. Some
story: When Farah was 14 years old, she was sealed into an
arranged marriage as the third wife of a man who was about five
21
Name changed to ensure confidence.
81
months of their marriage, the husband ceased to provide the
71. In her report on Zambia, Sampa states: “The men and women
women.”
Actors
72. Fransesca recalls a girl who spoke to the ensemble about being
raped: “To talk about it, to cry about it, to hear, ‘You’re gonna
73. Nidal said about the actors’ ability to focus when performing,
“When they acted it, they acted it with full feelings. With no
“Above the rehearsals being fun, they were a safe haven for the
82
75. Reflecting on her experience in Zambia, Sampa construes: “The
Transformation
76. Tasaffy reveals the difference in how the audience feels before and
after the performance: “Even when they walk into the showing not
came to see the performance and was, “Clapping for the children.
The same employer who hits and kicks and beats and exploits.”
78. One resident of Kibera speaks about his experience with KCYP
the commencement of the play: “It all starts the same with a
has been waiting for arrives, “I bet you are worried,” starts the
22
http://www.youtube.com/watch?v=ClR80x6lgHM
83
play, “Well, you should be worried, you should be worried
TVM at a conference for 13-14 year old girls in Namibia: “We heard
that the girls could not stop raving about their vaginas.”
Actors
81. Tasaffy alleges that, “At the end of it, everyone has a new found
idea and picture of what a vagina is and what makes a woman… All
can change people’s lives. I mean really change. And I’ve seen it.”
83. As an actress, Tasaffy felt, “That was truly one the best
84. Manjul recalls a child named Naresh. Naresh was raised in Gautam
84
85. Zola confesses the variation in her views of LGBT issues from
before and after the production of Blue Scarf: “Of course before
theater I was for human rights for all because I am a human rights
activist. But, [she laughs] I just thought about the sex aspect. Now,
86. Sunny relates, “I learned more about their love and strongly felt
it.” She separately adds, and Mandkhai agrees, “Before the theater
87. Marsha asserts that, “The actresses changed what she sees in her
world.”
Validation
88. Zohar suggests that, “Kids who are not listened to during the day
89. Manjul explains how the children perceive the audience clapping:
91. Maribel “kids who are not listened to during the day had the
85
Discussion
86
theatrical expression of one’s stories, emotions, and thoughts, this
roles on stage and the audience follows their lead. All this and more
their lives.
87
well as other outcomes such as awareness about pending sociopolitical
idea to help the person who was traumatized to have someone see
suggests that the audience, auxiliary ego23, and director can serve this
role.
23
The Auxiliary Ego in Psychodrama is equitable to a supporting actor in Theater.
88
Knowledge (1991), Miller confesses that she herself was abused as a
activities.
people who lived those stories (many of whom are on stage and in the
that, “It turned out to be important that someone was there to hear
89
At first reflection, it may seem that the community theater
experience is therapeutic first and foremost for the actors; benefits for
the audience are secondary. After all, the actors are the ones actively
audience’s advantage that the, “Actors do the work for them”. In the
endure them.” That being said, in theater one does not have to speak,
just listen and possibly relate: “You sit back and relax; We’ll tell the
story.”
performance, it’s only the actors who perform. But what is unique
about the street plays is that the audience not only watches us
perform, but people also get involved and begin to ‘act’ along with us.
90
It seems whether active participants or attentive spectators, the
Refugee Camp and gave cameras to the youth to take pictures. The
lives. This became a play which never made it to the stage because 3
“It was amazing to work with them anyway, but it was a bummer. They
realized, ‘This is our life in the camp.’ They made sense of it because
91
rehearsals. She told me the performance was minimalistic, amateur,
the process was the most important.” Zohar attributes this method to
forget that it’s a drama; I just feel that it’s true. I cried when there was
adds, “I feel that in the days leading up to the performance there was
foreign alike, most of whom had never been on stage before. But on
the day of the performance, there was a pervasive sense of, 'We're
to be further researched.
92
clarification, and education for the audience. Additionally, it lends the
audience.
taboo.
24
http://www.un.org/cyberschoolbus/humanrights/resources/child.asp
25
Brucellosis is caused by ingestion of unsterilized milk or meat from infected
animals, or close contact with their secretions. Brucellosis induces inconstant fevers,
sweating, weakness, anemia, headaches, depression and muscular and bodily pain
and can persist from a few weeks to many years.
93
worker (clinical social worker, psychologist, expressive therapist, etc.)
and Boehm, 2003; Snow, D’Amico, & Tanguay, 2003), but the absence
94
That being said, there exists scenarios in which the absence of a
Shock Value
audience and the role shock plays in inciting social change. Seema
95
began her interview on Any One of Us: Words From Prison by
conservative society. TVM was performed here some years ago. When
translated, vagina sounded too dirty and bold. People were not
comfortable with it; the actors were not comfortable with it so their
acting was not convincing. People have that kind of mentality over
here.” She explains that there are two Nepalese words for vagina:
Yuni, a more accepted term and Pupi which is considered a very dirty
Sampa to change the title, “We won’t lie to you, Zambians are not
Nepal: “If you want to change society, you don’t have to shock them.”
She maintains that Any One of Us: Words From Prison was more
re-reflects, “Actually, it’s high time that people here should start
why this scene was censured: “If we shock the audience, they may
miss the boat.” Some tweaks to the script were also made to reduce
96
shock factor. For example, the original script has Cinderella say to her
stepmother, “You are a fool,” after her stepmother calls her a fool. This
between two men. Zoya clarifies that they also had men kiss on stage
as well. Possibly, both techniques were vital: Some people gain from a
Bryan recalls that during the last scene of the dress rehearsal,
smooth operator, but evidently no one had told him about the details
onstage kept saying the word 'vagina' and talking about all the things
exclaimed. He was pretty much wordless after that and had a look of
heartfelt thanks and praise for the performance and for having us
97
Sampa details the shock effect in Zambia: “It was definitely
shocking for the audience to see two actresses dissect the female body
part, not only as a female part, but as an organ that can bring great
sex is rarely discussed and vaginas are not discussed at all. So when
you have a play where two women are discussing the vagina and sex
During the discussions one guy asked if we had underwear on, another
stage moan with pleasure18 was like watching a porn movie with the
difference being that she was right in front of the audience fully
dressed.”
shock. On the one hand, it can detract or distract from the primary
98
even sex. Sampa contends that, “The biggest threat to female sexual
feeling that, “Many want to do things, but can’t because of cultural and
religious issues.”
with issues concerning the oppressed was the secret to breaking the
2006).
When Seema was a student in India she saw TVM in New Delhi.
women over here, we are not very bold... Even if there is sexual abuse,
a women will not speak out against it because she is afraid that society
won’t accept her; she might be subjected to social stigma. Women are
not used to speaking out against family and friends. The more we keep
quiet, the more we do not express these things, the more the violence
26
“Matchmakers” encourage marginalized women from Vietnam, Indonesia, and
other southeast Asia countries to marry Taiwanese men in exchange for a small
dowry to be paid to her family.
99
will continue.” She continues, “More and more women are coming up
complaint are not things that are generally accepted. Beyond this,
single reaction from the audience, not a sound, not any movement,
except for absolute silence from start to finish.” During the post
must be the most culturally conservative stop on their TVM tour: “The
women who watched TVM were young people with an above average
education and teachers in the making, yet remained mute for two
spite of that, Sampa sees the silver lining: “One thing for sure is no one
walked out. The very fact that it was staged and we had an audience
100
Community Theater Use in Developing Countries As
there are other ways to help develop: The Arts. If you want a nation to
emotions: “We don’t like to talk about our problems. We don’t like to
show we are hurt inside; that we are damaged inside. This is one of the
thing to do. When we want to talk about it with each other we get
stubborn. ‘No man, I’m strong, I’m ok, I’m fine.’ We also make light of
it or jokes about it. It happens every day. All the time. If you want to
feel sad about it, you will feel sad your whole life.” A society such as
about the stress of war in which the Israeli children actors had indeed
101
survived the Yom Kippur War of 1973. Both Nidal and Yossi needed a
infamous 2008 riots in Mongolia: “The results of the 2008 election led
to violent riots. There was a lot of police brutality and five people were
can afford. Seema asserts, “The only way 70% of the normal
population will watch theater is if it’s free and on the road: street
the theater workshop: “Creativity and art is very important for most of
27
To the great dismay of the Democratic Party, the preliminary results of the 2008
elections in Mongolia revealed an obvious victory for Mongolian People's
Revolutionary Party (MPRP). Tsakhia Elbegdorj , leader of the Democratic Party,
immediately claimed the results were fixed, inciting a violent uprising. President
Nambaryn Enkhbayar declared a four day state of emergency and a 22:00 curfew
was imposed. Despite the police’s use of seemingly non-violent techniques to
control the protesters, the MPRP headquarters were set to fire five people were
killed, over 300 police and civilians were injured (Mongolia calls state of
emergency, 2008).
102
sewing. Yes, for these kids creativity and self confidence is just as
important as math.”
confused with psychodrama and drama therapy which are in fact that.
matter.
103
with orphans in Mexico reflects: “Although there was a language
“We utilized theater because how else can you communicate to Hindi
speaking children?” She assures that, “We were able to see growth
performance was necessary, i.e. Why could they not have just recited
essentially is the point (and which they did anyway during the post
accounting the amount of information one can obtain from a text vs.
the amount one can obtain from a play. “In a text, the only language is
concern for LGBT issues, explains her decision to actually act in the
28
http://www.un.org/cyberschoolbus/humanrights/resources/child.asp
104
Similarly, Kepha discovered theater to be a common language
the illiterate, the busy, the bored, etc. …We also break down the
language: “The story is clear and does not need for an audience to
situation (abuse, child labor, etc.) does not take into account the
marriage and child labor are eradicated, how does the family sustain
educating the kids was not enough to change the thought process of
the adults. Our efforts were a drop in the ocean but a drop
105
nevertheless.” The change inflicted by community theater is merely a
band aid on a wound which needs surgery. I propose that the most
Biased Results
(Sampa).
place for most of the theater groups. That being said, while not
106
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Appendix I
116
Theater is important because it’s very personal and
out issues that usually no one tends to talk about. Like the normal
Dhaka’s women have reached the point where they are ready to
accept that they have issues like that which they want others to
understand.”
2. She continues, “I think one of the main thing about the issues
spoken in TVM is about everyday little, totally not thought of things like
tampons and thongs women choose to use/or not use, but no one
when you hear things like that actually being SAID out loud and with
the kind of power that the monologues have, you cannot help it but
feel a sense of accomplishment around you, even if you are only part
of the audience.”
117
3. In regards to the male audience member Tasaffy explains, “Men are
wanting empowerment, they want equality, they want more rights, etc.
For everyday men, those are abstract in a sense, and not part of their
lives. They do not sympathize with most of it, and which is why it is
difficult for them to belong to any movement which calls for ‘women’s
thing to make the issues sound like a women vs. men matter – men
harass women, men get more, women get less, etc. TVM has a
talking about problems, even rape, without making men (of course
those who are not violent towards women) understand these views in a
head spinning, legs shaking, want to run out of the room kind of
5. Bryan says about TVM, “I think it was sort of a 'break from reality'
'alternate universe' where these things are talked about openly and
frankly.”
118
6. Bryan says about theater that, “It makes the subject a lot more
could relate to, and audience members could always 'step back' from
all, it was 'theater', not real and present at that moment. While
'passing the book around' still would have effectiveness, few would
have been able to get as much out of some of the parts on their own
especially when it comes to parts like the job our actress did with the
or the way another actress talked about a piece of her vagina coming
off in her hand in “My Vagina Was My Village”29: These are moments
audience.”
practically everyone, even the deaf can see and the blind can hear. We
also reach those people who either do not have time or passion to sit
29
“My Vagina Was My Village” is a monologue compiled from the testimonies of
Bosnian women subjected to rape as a weapon of war.
119
down through a boring lecture. The most important aspect is that
society, giving room for learning and self-assessment. Arts remain the
literacy and also because the arts can convey messages which all can
9. Chinzo says about Blue Scarf, “It made the issues more real,” a
the issues.
10. Seema informs, “A lot of rape and sexual abuse is taking places in
rural areas and not reported to police.” She tells me there are crisis
centers for victims of rape and abuse, but most women are unaware.
not even know that there are these services available for them. They
do not know they entitled to these services. That’s why through street
120
11. When I asked Khalid why he could not just read the results of his
as follows: “I read the reports and cases on paper, but I don’t see it.
When the actors see the reaction of the audience, it affects them.”
121
Appendix II
Anna’s Story
I would like to take this opportunity to tell you about Anna whom
Anna’s story for the end because it does not fit into one category in the
inhabitants have never been to the capital as they cannot afford the
~80 cent bus ticket.) Anna has a hardened appearance: glaring eyes,
122
furrowed brow, and is visibly dirty. But, when she speaks, you realize
that underneath her rough exterior lies a jaded and defeated 19 year
old girl. Anna’s mother abandoned her children when Anna was 12
leaving Anna to care for her four younger siblings and deteriorating
elder father, 70, who is infected with AIDS. She failed out of school due
So, Anna got into a water fight. Not the kind you’re likely thinking
of; this was a fight over water. Anna, along with the rest of the village,
fetches water from the local well on a daily basis. Sometimes, one can
wait several hours at the well for the government to open the ducts.
This day was one of those days. After roughly a five hour wait, a girl
about Anna’s age cut the line. When Anna and her sister tried to stop
her, the girl threw their buckets aside. Anna, on her last leg, threw the
girl into the well. Thankfully, the girl suffered only light injuries. Anna
and her sister were arrested. Fed up with her lot in life, and
I greeted Anna at the jail when she was released on bail after
other participants empathized with her and helped her through it. Anna
123
was afforded the opportunity to tell her story, to have witnesses hear
her story, and to shine on stage. For the first time in Anna’s life, people
listened to her, she felt accepted in the community, and her story was
validated.
resurfaced, and she expressed anger about her lot in life, her father’s
inevitable death sentence, her constant hunger, and her desire to have
her.
124