FACILITATORS FRAMEWORK: TRAINING

MODULES
Project title: Forum ROMAnum Interactive Theatre Games Inclusing Roma Minorities Number: 2015-1-LT01-KA204-
013494

Mikas Balkeviius
Vilniaus kolegija / University of Applied Sciences
 Contents
1. INTRODUCTION TO PROJECT .............................................................................................................................................................................. 10
2. FACILITATORS FRAMEWORK AIM, OBJECTIVES AND METHODOLOGY ............................................................................................................ 11
3. DEVELOPING FACILITATORS SKILLS ................................................................................................................................................................... 13
4. DEVELOPING FACILITATORS PSYCHOLOGICAL SKILLS FOR FORUM THEATRE................................................................................................... 16
5. WORKING IN PAIRS ............................................................................................................................................................................................. 19
5. WORKING WITH HETEROGENEOUS GROUPS IN FORUM THEATRE ................................................................................................................... 22
6. MULTIPLICATION AND GENERATION OF AUDIENCE FOR FORUM THEATRE..................................................................................................... 32

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 1. INTRODUCTION TO PROJECT

Many times the Roma question is narrowed and passed to those countries who rather deal with the problem. The treatment of the
difficulties is left to those target societies where the integration problems arise. However according to many EP delegates (Gyula
Winkler, RMDSZ) the only effective approach for Roma integrity problems to accept that the issue belongs to the whole European
Community. The only way to step forward in the question is to synchronize and support effects of concerned countries by all European
institutes. According to the aims of Lisbon Process, promoting greater social cohesion and decreasing extreme poverty mostly concern
to Roma minorities. Critical social and financial background of gypsies threats social cohesion of the whole Community. The Roma
question becomes an interior problem of the European Union.
The position of gypsy minorities are different according to countries, but it is should be defined as a correlation to the major society.
Essential point of view is to examine structural discrimination in each nations politics (Angla Kcz sociologist, executing director of
European Roma Information Office).
Integration difficulties, conformation problems and criminality of minor Roma groups are not new questions in Europes history. The
story of gypsies is closely related to mostly unsuccessful integration attempts of major societies. The main reason of the failure of
integration process is the traditional, specially peripheral and peripatetic lifestyle of the minority groups (Szilveszter Pczik sociologist),
which has caused prejudices based on fears, negative tradition and experiences. The problem although tolerance and understanding
towards different ways of thinking and lifestyles has been developed in the Community is still not solved reassuringly. European Roma
minorities have much lower indicators of social background and healthcare than the average of majorities. They are in a disadvantaged
educational position also due to their tradition underestimating educational process, and also their regressive behavior against
institutionalism. Most of them dont get vocational qualifications, early-school-leaving, unemployment and illiteracy are very frequent
among them. There are a high percentage of children with special needs in their societies. The mean age of minority groups is less with
around 10 years compared to majorities.

Treating problems and changing conditions dont depend on only Roma minorities. All levels of major and minor societies should revise
and modify attitudes, build strategies of cooperation based on tolerance. Most of the initiatives trying to solve problems derive from
decision-makers and professional institutes however there are big tensions, prejudices, negative experiences, aggressions and fears
among citizens themselves.

This project makes a try to

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- Reinforce communication among concerned citizens, leaving them to express their points of views, individual and social needs and
feelings face to face in one space at the same time. The project raises awareness on the importance of communication and understanding,
which is necessary for solving problems, for creating innovative solutions and finding new pathways.
- Use an alternative informal-nonformal teaching approach to release tensions, to make the confrontation acceptable, treating and
interpreting the whole process as a theatre performance or game
- Create a common space and opportunity to work together aiming to reach same results, forming strong working relationships, knowing
better each other, decreasing prejudices and segregation.
- Involve young generations of Roma minorities as key persons of mentality change to execute and generate project activities and theatre
games
- Reinforce the role of nonformal art education in creating a sense of conscious citizenship based on understanding, responsibilities and
respect for human rights and democracy. Strengthening the contribution of art to social cohesion, unemployment issue, active
citizenship, intercultural dialogue, gender equality and equal opportunities.
- In the frame of an international partnership the project also strengthens the sense of European consciousness and the activity of taking
decisions, realizing and protecting values and interests in the European Community. Fosters a sense of ownership and self-awareness of
themselves as members of their own community and as members of Europe. Develops a sense of European identity, based on common
values, history and culture.
- Assure sustainability and exploitation of project results with accredited facilitator trainings available also beyond the project period,
continuing and maintaining the initial in further locations and communities.
- Provide an example of international partnership and fund raising for civil organizations concerned in Roma issues.

2. FACILITATORS FRAMEWORK AIM, OBJECTIVES AND METHODOLOGY

The Training Thematic is an added value for the project, and has different aims than the Methodology Book. The Methodology Book can be used
by all kinds of theatre groups, group leaders, educational providers etc, which are committed to integrity issues there is no condition of being
a trained facilitator by this programme to use the Methodology Book.

However, using the Book as a trained facilitator assures more effective results in this certain type of programme described in the application
form.

The Training Thematic is a professional training material and programme, which trains facilitators
1.) to multiply and activate heterogeneous theatre groups in their local communities
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2.) to motivate and activate direct target groups (heterogeneous audience) for theatre actions
3.) to lead Interactive Theatre Games in local communities facing minority problems
4.) to use the Methodology Book in an innovative way
5.) to face certain type of problems which can occur during Interactive Theatre Game implementations
6.) to have general management skills for planning, organizing events / follow-up and disseminate results / managing local theatre groups, team-
building
7.) to communicate easier with target groups
8.) to learn / to teach to learn pair work (Roma and major citizens)

The compilation of the material should consider a) results and conclusions of national try-outs of the theatre games, b.) common brainstorming
of new ideas and modifications of the game methods discussed on the first blended mobility and clarified on the third meeting.

Terms and conditions of the facilitator trainings:

1.) Facilitators work in pairs. A Roma and one major inhabitant as a pair coming from the same local community lead Interactive Theatre Games
2.) Training Thematic focus on various modules worked out by each partners, developing different skills (psychological skills / practical skills /
communicational skills / facing possible problems during improvisations / how to work in pairs / how to improve a heterogeneous theatre group
/ how to multiply and generate audience and events etc.)
3.) Applied methods: non-formal training elements, interactive learning process, TIE, cooperative work.
4.) Type of the training: blended, process-embedded training

The Training Thematic will be also translated to Romani language; however, this option cannot be chosen from the languages below.

Previous phases of the compilation (data collection, creative writing of Interactive Theatre Games, national try-outs of Interactive Theatre Games,
compilation of the Methodology Book, and all results evaluated from these previous activities mostly on the third transnational meeting) belong
to project itinerary. The application form only counts the final phase of the compilation as intellectual output.
Main steps and shared responsibilities of the compilation:

1. Exchanging experiences of national try-outs of Interactive Theatre Games. Listing problems, difficulties, required modifications among
participants of first blended mobility.
2. Outlining terms, conditions and guidelines of the Training Thematic on the third transnational meeting. Considering a) results and conclusions
of national theatre games, b.) common brainstorming of new ideas and modifications discussed on the first blended mobility. (ALL PARTNERS)
3. Identifying and sharing training modules of the Training Thematic among partners. (Psychological skills / practical skills / communicational skills
/ facing possible problems during improvisations / how to work in pairs / how to improve a heterogeneous theatre group / how to multiply and
generate audience and events etc.)

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4. Working out chosen modules with detailed descriptions, definition of skills developed, defining target groups, aims, objectives, envisaged
results and methods. Each country finalizes of its modules in native language and English. (ALL PARTNERS)
5. Editing and combining all modules into one publication in English (VIKO)
6. Covering, design (AGITA)
7. Rough translations to native languages (ALL PARTNERS)
8. Testing on national level: national facilitator-trainings (ALL PARTNERS)
9. Required modification according to evaluated results of national facilitator-trainings (ALL PARTNERS)
10. Finalization of modified texts in English (VIKO)
11. Final translations to native languages (ALL PARTNERS) and Romani (VIKO)
12. Publications (1000 copies of English/Romani, A/2, 32 pages, coloured) (UYA)
13. National publication will be solved by each partner organisation from their implementation costs.
14. First application: International Facilitator Training (2nd blended mobility) (ALL PARTNERS)
15. Accreditation process (VIKO)

The Training Thematic and the training itself is tested firstly on national level, in order to filter problematic methods to change or to improve. The
International Training of Facilitators held on the second mobility is the main rehearsal of the programme before finalization and accreditation
process.

3. DEVELOPING FACILITATORS SKILLS

GENERAL DATA OF MODULE:
Title of module:
Amount of credits (ECTS):
Amount of total hours:
Amount of theoretical training hours:
Amount of practical training hours:
Learning resources needed:
Learning spaces requirements:
Learning strategies / methods applied:
Developing facilitators skills for Forum Theatre
2 ECTS (56 acad. hours)
56 Hours
12 hours
44 hours
Conference blank notes (2-3 blank notes), Conference stands (2 ones).
Conference room with 4-7 round tables; 5 chairs for each table required for group / team work.
Problem-based learning; Project-based learning; Group work / Team work; Forum theatre
methodic.

SPECIFIC DATA OF MODULE:

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Aim of training module:
Objectives of training module:
Measuring and evaluation of learning
outcomes:
Provide for facilitators major facilitation skills needed to facilitate educational process organizing
Forum-theatre activities for integration of Roma minorities.
Introducing to facilitators definition and the main functions in education;
Introducing to major facilitation competences;
Group / team work in organizing of Forum theatre;
Using of questioning strategies to facilitate Forum theatre process;
Using of reflective thinking in the process of Forum theatre.
Qualitative evaluation. Reflective journals; Observational protocols; peer based evaluation; Self-
evaluation tools.

LEARNING TOPICS:
No. Learning topics Total hours Theoretical hours Practical hours
1. Introducing to facilitators definition and the
main functions in education. 7 3 4
2. Introducing to major facilitation competences. 7 3 4
3. Group / team work in organizing of Forum 14 2 12
theatre;
4. Using of questioning strategies to facilitate 14 2 12
Forum theatre process.
5. Using of reflective thinking in the process of 14 2 12
Forum theatre.
Total 56 12 44

DEVELOPING FACILITATORS SKILLS. LEARNING TOPICS: DETAIL DESCRIPTION

No. Learning topics Preparation for activities Implementation of activities Evaluation of
activities
Introducing to Preparation process requires multimedia Facilitators definitions is presented Reflection groups /
1. facilitators or other visualization tools. Conference contrasting traditional and nowadays reflection journals.
definition and the stand could be used in this case. didactical approaches in education; The
main functions in main functions described outlining UK and
education. Dutch scientists work

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 Introducing to Preparation process requires multimedia The main facilitation competences Reflection groups /
2. major facilitation or other visualization tools. Conference presented in terms of facilitation of self- reflection journals.
competences. stand could be used in this case. directed learning; group based learning;
questioning strategies; reflective thinking.
Group / team work Activity requires innovative for Differences between group based learning Reflection groups /
3. in organizing of constructive, socio-constructive learning and team based learning explained; Giving reflection journals.
Forum theatre. spaces: round tables, open and bright tasks for group / team: comparing and
spaces. contrasting of tasks; proceeding with group
reflections on the issue.
Using of Activity requires innovative for Learners are introduced with the different
questioning constructive, socio-constructive learning classification of questions and different Reflection groups /
4. strategies to spaces: round tables, open and bright question stipulating reflection at the reflection journals.
facilitate Forum spaces. different stage of organizing of Forum
theatre process. Theatre. Questions are generated and
answers reflected / found by learners
themselves in terms of content and process
of Forum theatre.
Using of reflective Activity requires innovative for Conception of reflection presented: Reflection groups /
thinking in the constructive, socio-constructive learning metacognition of content and the process. reflection journals.
5. process of Forum spaces: round tables, open and bright Reflective thinking at the different stages of
theatre. spaces. forum theatre presented and discussed.
Presentation of reflective journals; Filling of
reflective journals; measuring and
evaluation methodic.

References for facilitators in topic:

1. Augusto BOALS Forum theatre for teachers (Notes from a workshop at Athens Conference, 2000) //
https://organizingforpower.files.wordpress.com/2009/03/games-theater-of-oppressed.pdf;
2. Brown, A. L. (1987). Metacognition, executive control, self-regulation, and other more mysterious mechanisms. In F. E. Weinert & R. H. Kluwe
(Eds.), Metacognition, motivation, and understanding (pp. 65-116). Hillsdale, New Jersey: Lawrence Erlbaum Associates;
3. Flavell, J. H. (1979). Metacognition and cognitive monitoring: A new area of cognitive-developmental inquiry. American Psychologist, 34, 906-911;
4. Forum theater: http://beautifultrouble.org/tactic/forum-theater/ ;
5. Neville, A. J. 1999. The problem-based learning tutor: teacher? Facilitator? Evaluator? in Medical Teacher, 21(4), 393-401;
6. Questioning Techniques // http://tatp.utoronto.ca/teaching-toolkit/first-time-taing/questioning-techniques;
7. Questioning Techniques: Asking Questions Effectively // https://www.mindtools.com/pages/article/newTMC_88.htm;
8. Savin-Baden, M. 2003. Facilitating Problem-Based Learning, Illuminating Perspective, Maidenhead: SRHE and Open University Press;
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 4. DEVELOPING FACILITATORS PSYCHOLOGICAL SKILLS FOR FORUM THEATRE
GENERAL DATA OF MODULE:
Title of module:
Amount of credits (ECTS):
Amount of total hours:
Amount of theoretical training hours:
Amount of practical training hours:
Learning resources needed:
Learning spaces requirements:
Learning strategies / methods applied:
1. SPECIFIC DATA OF MODULE:
Aim of training module:
Objectives of training module:
Measuring and evaluation of learning
outcomes:
2. LEARNING TOPICS:
No. Learning topics
Developing facilitators psychological skills for Forum Theatre
2ECTS (56 acad. hours)
56 Hours
12 hours
44 hours
Conference blank notes (2-3 blank notes), Conference stand, chairs; pencils , Multimedia
Room with chairs for 8-10 people to sit in circle.
Lecture; Self-consciousness strengthening using group work; Group dynamics and ones emotional and
social experience in group analysis; self analysis in group.
Provide for facilitators major psychological knowledge about self-consciousness (Johary - window);
psychological defense mechanisms; basic processes of group dynamics; emotional communication levels
and improve communication skills: sharing; identifying emotional states, empathy; support; giving
feedback.
Johary window theory
Psychological defense mechanisms
Basic psychological features needed for group guide (facilitator);
Basic principles of group dynamic;
Basic communication skills: self-reflecting in group, sharing; supporting; guiding; giving feedback,
initiating and other.
Observational protocols; peer based evaluation; Self-evaluation tools; test.
Total hours Theoretical hours Practical hours
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 1. Self consciousness. Johary Window theory. Psychological
defense mechanisms. 7 4 3
2. Basic psychological features needed for group guide (facilitator). 7 3 4
3. Basic principles of group dynamic. 14 5 9
4. Emotional level of communication: emotional experience in group, 14 3 11
identifying emotions, reflecting emotions; sharing emotions,
emotional support for others; emotional impact; nonverbal
communication.
5. Self - consciousness strengthening and personal growth in 14 3 11
supportive open group atmosphere.
Total 56 12 44

DEVELOPING FACILITATORS SKILLS. LEARNING TOPICS: DETAIL DESCRIPTION

No. Learning topics Preparation for activities Implementation of activities Evaluation of
activities
Self consciousness. Preparation process requires The concept of psychological self (Johary Reflection groups /
1. Johary Window theory. multimedia or other visualization Window model) is presented. The basic personal reflection.
Psychological defense tools. Conference stand could be used psychological defense mechanisms are Observation
mechanisms. in this case. The space for 8-10 presented. The practical tasks to identify protocols.
persons so sit in circle. Special tasks to personal psychological self and defense Questionnaires/tes
work in group have to be prepared. mechanisms have to be given and discussed in t.
group. The special tasks to reinforce self-
consciousness in the group setting have to be
presented, done and analyzed in the group.

Basic psychological Preparation process requires Basic psychological features needed for Reflection groups /
2. features needed for group multimedia or other visualization effective group guide have to be presented personal reflection.
guide (facilitator). tools. Conference stand could be used (empathy, self control, self- consciousness, Observation
in this case. The space for 8-10 emotional exclusion, braveness, capacity to protocols.
persons so sit in circle. Special tasks to accept aggression; personal strength and Questionnaires/tes
work in group have to be prepared. other). t

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 Special task for the members of the group to
reinforce, identify the personal strengths and
weakness have to be presented, done and
reflected in the group.
Basic principles of group Preparation process requires Special tasks for group work have to be Reflection groups /
3. dynamic. multimedia or other visualization presented and done. personal reflection.
tools. Conference stand could be used Basic principles of group dynamics (the groups Observation
in this case. The space for 8-10 evolution; the factors for groups evolution; protocols.
persons so sit in circle. Special tasks to the aggression and resentment in group; the Questionnaire.
work in group have to be prepared. conflicts in group; the atmosphere in group; the
social roles in group; the dangers of group work
and other) have to be presented and analyzed
according the previous group work experience.
Emotional level of Preparation process requires Emotional level of communication (aim;
communication: multimedia or other visualization conditions; features; signs of quality) have to Reflection groups /
4. emotional experience in tools. Conference stand could be used be presented for the group. Special tasks for personal reflection.
group, identifying in this case. The space for 8-10 the group have to be presented in order to Observation
emotions, reflecting persons so sit in circle. Special tasks to reveal, reinforce and reflect special protocols.
emotions; sharing work in group have to be prepared. communication skills. Questionnaire.
emotions, emotional
support for others;
emotional impact;
nonverbal
communication.
Self - consciousness Preparation process requires The possibilities to reinforce the personal Reflection groups /
strengthening and multimedia or other visualization strength in the group work have to be personal reflection.
5. personal growth in tools. Conference stand could be used presented. Special tasks for the group have to Observation
supportive open group in this case. The space for 8-10 be presented in order to reveal, reinforce and protocols.
atmosphere. persons so sit in circle. reflect special communication skills, personal Questionnaire.
features.

References for facilitators in topic:

9. Augusto BOALS Forum theatre for teachers(Notes from a workshop at Athens Conference, 2000) //
https://organizingforpower.files.wordpress.com/2009/03/games-theater-of-oppressed.pdf;
10. Johnson D. & Johnson F. (1994) Joining together. Group theory and group skills. Boston: Pearson Allyn an Bacon.

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 11. Koinas R. (1998) Psichoterapins grups: teorija ir praktika. Vilnius: Vilniaus universiteto leidykla.
12. Leight D. (2006) The group trainers handbook: designing and delivering training groups. London, Philadelfia.
13. Rogers C. (1970). Encounter groups. N. Y. :harper and Row.
14. Toseland R. Rivas R. (2004) An Introduction to group work practice. New Jersey: Allyn and Bacon.
15. Whitaker D. (2001) Using groups to help people. Hove: Routledge.

5. WORKING IN PAIRS
GENERAL DATA OF MODULE:
Title of module: Working in pairs
Amount of credits (ECTS): 1
Amount of total hours: 28
Amount of theoretical training 0
hours:
Amount of practical training hours: 28
Learning resources needed: Sound equipment
Learning spaces requirements: Open, safety place or large room minimum 5 m. x 8 m.
Learning strategies / methods Forum theatre
applied:

SPECIFIC DATA OF MODULE:

Aim of training module:
Objectives of training module:
Measuring and evaluation of
learning outcomes:
To help the participants to work in pairs, express their abstract thoughts, feelings and imagery in an
embodied form and help them to make sense of ourselves. It is of particular relevance to those who have
or want to apply Boals techniques in multicultural environment.
- Feeling what we touch (restructuring muscular relations)
- Listening to what we hear
- Dynamising several senses
- Seeing what we look at
- The memory of the senses
Feedback form

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LEARNING TOPICS:
No. Learning topics Total hours Theoretical hours Practical hours

1. Presentation of the 3 0 3
participants and energizing
2. Feeling what we touch 4 0 4
(restructuring muscular
relations)
3. Listening to what we hear 4 0 4

4. Dynamising several senses 4 0 4

5. Seeing what we look at 4 0 4

6. The memory of the senses 3 0 3

7. Telling a story 3 0 3

8. Closing the group and 3 0 3

feedback
Total 28 0 28

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HANDLING OF PROBLEMS DURING IMPROVISATIONS. LEARNING TOPICS: DETAIL DESCRIPTION
Preparation Evaluation of
No. Learning topics Implementation of activities
for activities activities
Presentation of 1. Good hands the group is in a circle. All participants close their eyes and
the participants raise their right hand. After you give a signal everybody slowly goes to the center
and energizing of the circle and tries to find a hand which is nice to be touched. If two hands like
each other the couple goes out of the circle and open their eyes.
2. Who Am I - tell participants to walk freely in the room until you say STOP.
Then participants should quickly group into pairs. Everyone looks at his or her
partner for 30 seconds and then they stand back to back. Ask questions, for
example: What is the name of the person behind you?, What is the color of
his/her eyes? How many earrings does he or she have?, etc. After they answer to After each activity
the question, the walk continues until you say STOP again and ask the next participants are
No need for questions. invited to give
1. special 3. Blind Handshake - Divide the group into pairs. Ask each person to face feedback about
preparation. their partner and join hands in a handshake. Then ask participants to break the their experience
handshake and take roughly 5 steps back. Then ask them to walk 5 steps forward and feelings during
and reconnect with the handshake. Finally, ask participants to repeat this exercise the exercise.
with their eyes closed.
4. Communication - participants are in a circle and holding hands. Each
participant should look at the other's eyes for a while and give him/her a smile.
This exercise is very relaxing and cheering.
5. Back-dancing - Two actors set themselves back to back and dance,
without music. Each must try to intuit what the other wants to do, and where he
wants to go. Back to back contact must never be broken.

Feeling what we 1. Colombian hypnosis- One actor holds her hand palm forward, fingers
touch upright, anything between 20 and 40 centimetres away from the face of another,
After each activity
who is then as if hypnotised and must keep his face constantly the same distance
participants are
from the hand of the hypnotiser, hairline level with her fingertips, chin more or
invited to give
less level with the base of her palm. The hypnotiser starts a series of movements
2. Chairs feedback about
with her hand, up and down, right and left, backwards and forwards, her hand
their experience
vertical in relation to the ground, then horizontal, then diagonal, etc. the partner
and feelings during
must contort his body in every way possible to maintain the same distance
the exercise.
between face and hand, so that face and hand remain parallel. If necessary, the
hypnotic hand can beswapped; for instance, to force the hypnotised to go
between the legs of thehypnotiser. The hand must never do movements too rapid
to be followed, normust it ever come to a complete halt. The hypnotiser must
force her partner intoall sorts of ridiculous, grotesque, uncomfortable positions.
Her partner will thusput in motion a series of muscle structures which are never,
or only rarely,activated. He will use certain forgotten muscles in his body. After
a few minutes,the two actors change, the follower and the leader. After some
more time, bothcan extend a hypnotising right hand, becoming leaders and
followers at one andthe same time.
2. Pushing against each other - Two partners face each other. With their
arms always in contact, the partners must make movements with both arms, at
the same speed (a slow rhythm in order to avoid injury) each trying to touch each
others face. Each persons arms can slide over the others arm, the important
thing is that they should always be in contact and moving with a constant rhythm;
speeding up or coming to a halt is forbidden. The movement should be flexible,
and should never involve the imposition of force. This should not become an
Indian wrestling match any movement the partner offers must be accepted, the
only method of self-defence being to twist away from it, never to block.
3. Lifting someone out of a chair - One actor sits on a chair. The other actors
around her try to press her body intothe chair and she tries to stand up again.
Everyone uses all their strength. At acertain point, the workshop leader shouts
Go and everyone reverses the movementat the same moment, slipping their
hands under her and throwing her intothe air.Variation: The person lies flat on
the ground and a surrounding group push her into the floor(firmly, but without
hurting her). Then, at a given cue, they lift her rapidly intothe air, though without
actually throwing her. When her body is as high aspossible, the actors carrying it
try to simulate the waves of the sea.
4. Crossed legs - In pairs of roughly equal build, standing side by side, the
actors hold each otherround the waist and intertwine their inside legs, As right
leg crossed under Bs left leg, lifting the leg on each step. The pairs then start a
race, in which each A must think of her partners body as her own leg; she must
move this body as she would move her leg. Careful the idea is to walk, not jump.
The leg (B) doesnt help, it is partner A who has to do all the work.
5. Leaning-against-each-other walk - Two actors, side by side, touching
shoulders (As right shoulder against Bs left shoulder). They walk along leaning
into one another, each trying to keep her feet as far from the others as possible.
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 Listening to what 1. Bolivian mimosas - Pairs, in which one partner is the person and one is
we hear the mimosa flower (a plant which is sensitive to touch). The person touches some
part of the body of the mimosa, who must start moving rhythmically, first the part
of the body which has been touched, then enlarging the movement till eventually
it takes in the whole body. The person observes to make sure that the mimosa
spreads the movement till its whole body is shaking. Three times, starting with
different points on the body. Then another three times, with a rhythmic sound
added. Then a further three times, but this time the mimosa must make a
melodious sound, with a melodious movement. Person and mimosa can swap
after each of the three sections, or at the end of the whole sequence. People with
back conditions, beware, the exercise is harder work than it seem sat the time.
2. Two by three by Bradford-The actors get into pairs facing each other. The
exercise has four or more parts. First they simply count up to three out loud a
number of times: actor A says One,B says Two, A says Three, B says One, A
says Two, B says Three, and so on. They try to get this working as fast as After each activity
possible. Then, instead of saying One, A does a rhythmical vocal sound participants are
No need for accompanied by a rhythmical action, which must take the place of the number invited to give
3. special whenever it would have been said. Thus the sequence now goes: A does sound feedback about
preparation. and action, B says Two, A says Three, B does the sound and action invented by their experience
A, A says Two, B says Three, and so on. Whatever sound and action A does at and feelings during
the beginning of this second sequence must be repeated as accurately as possible the exercise.
whenever the One would have been spoken. In the third phase of the game, as
well as the sound and action in place of One, a different sound and action is
substituted whenever Two would have been spoken. Again the partners play for
a few minutes, trying to get as fluent as possible. And of course in the fourth
phase, yet another sound and action is substituted for the number three. So now
what you see is a kind of sound and action dance, with no numbers being spoken
at all. The game works best if each sound and action is very different from the one
which precedes it. This way the players get less confused. Any number of
variations are possible the count can be taken up to five, or seven, etc.; an even
number will not work, because the players end up doing and saying the same
things each round, instead of having to observe and copy each others actions and
sounds.
3. One actor pretends to pull the stopper out of anothers body - The actor
does this as if his fellow actor was an inflatable doll full of air. The part of the body
17
 un-stoppered can be the finger, the knee, the ear, etc. The un-stoppered actor
acts as if he was in the process of emptying; at the same rate as he breathes out,
he deflates, until he falls to the floor like an empty rubber doll. Then the first actor
approaches the doll-actors empty body and does the movements and sounds of
someone filling a balloon up with an air pump. The balloon must fill up with the
same amount of air as the actor is pumping, sometimes a lot, sometimes a little.
After the relevant time, without any motor movement (as if he was a real doll, a
real balloon) he re-inflates as much as he can, and his colleague helps him into an
upright position (a doll wouldnt be able to do it alone). This gameexercise
should be done with several people. Once the body has been blown up again,
everyone plays like a child with their balloon-doll, which should bounce on the
ground or off the wall (but never walk). After a few minutes, the Joker should ask
all the children to swap balloons, two or three times. Finally, the balloons begin
to deflate very slowly, and bounce less and less, till eventually theyfall to the
ground, completely empty.
Dynamising 1. The sculpturer and the sculpture - The group is in pairs. The one is the
several senses "sculpturer", and the other - its "sculpture". The sculpture stays still and the
sculpturer moves parts of the body in order to make the sculpture. (as if modeling
of clay). The sculpture must stay still for some time.
2. Puppets - Divide the group into different pairs and ask participants to decide
who isA and B. Explain that A is the puppeteer and B is the puppet. A creates
aninvisible string that is attached to a specific part of Bs body. When Amoves the
After each activity
string, B reacts to the movement as a puppet would and movesthat body part. The
participants are
movement should be continuous and not too repetitive.As the movements
No need for invited to give
progress, each pair may start to move through the space.Ask each pair to swap
4. special feedback about
over and let B lead A.Encourage the group to concentrate on the small movements
preparation. their experience
as well andmaintain a precision in the relationship between puppet and
and feelings during
puppeteer.Remind participants that the face can be manipulated by the
the exercise.
puppeteer,as well as the limbs.
3. Noises - The group divides up into pairs: one partner will be blind, the other will
be herguide. The guide makes an animal-like noise, like a cat, a dog, a bird, or a
madeupanimal and her partner listens. Then all the blind people are to close
theireyes and all the guides, at the same moment, start making their sounds,
whichtheir blind partners must follow. When the guide stops making the sound,
theblind person should stop moving. The guide is responsible for the safety of
18
 hisblind partner; he must stop her (i.e. by ceasing to make his sound) if she is
indanger of colliding with another blind person or bumping into an object. He
shouldchange his position frequently. If his blind charge is good, if she is
managing tofollow him, the guide should move as far away as possible. The blind
person mustconcentrate on her own noise, even when there are lots of other
noises all aroundher. The exercise deals with the selective functioning of the ear.
4. The imaginary journey - In pairs. The blind partner must be led across a series
of real or imaginary obstaclesfound or invented by the guide, as if the two of them
were in the middle of a forest(or any real or fantastic environment the guide has
in mind: downtown in a bigcity, in a crater on the moon, a supermarket, etc.). As
in all the exercises of thiskind, speaking is forbidden because it distracts attention
from images and sounds,from imagination; all information must be given by
physical contact. Wheneverpossible, the guide should make the same movements
as the blind person, imagininghis own story.The guides should sow obstacles
throughout the room chairs, tables, whateversavailable so that the obstacles
are sometimes real, sometimes imaginary.The blind person must try to imagine
where she is. On a river, for instance? Arethere crocodiles? Lions? Rocks? And so
on. The guide can use physical contact orbreath or sound, as a means of guidance,
but the blind people are not allowed todo any movement which they havent been
instructed to do.After a few minutes, the exercise stops and the blind person
must very quietlytell her guide where she is in the room, who is next to her, etc.
in short, shemust give all the real information she has been able to gather by
means of all hersenses, bar sight. Then she tells her guide where she imagined she
was journeyingand the guide tells his story, and they compare notes.
Seeing what we 1. Mirrors - Divide the group into pairs. Ask participants to decide who is A
look at or B and to find a space in the room where they can work. A begins by starting a
movement and B copies (mirrors) the movement. The movements should be After each activity
continuous and not repetitive. Explain that they should not try to catch their participants are
No need for partner out. As the movements progress, each pair may start to move through invited to give
5. special the space. Ask each pair to swap roles and let B lead A. feedback about
preparation. 2. Complete the image - A pair of actors shake hands. Freeze the image. Ask their experience
the watching group what possible meanings the image might carry: is it a business and feelings during
meeting, lovers parting for ever, a drug deal, they love each other, they hate each the exercise.
other, etc.? Various possibilities are explored to show all the meanings a single
image can have. Everyone gets into pairs and starts with a frozen image of a
19
 handshake. One partner removes himself from the image, leaving the other with
his hand extended. Now what is the story? Instead of saying what he thinks this
new image means, the partner who has removed himself returns to the image
and completes the image, thus showing what he sees as a possible meaning for
it; he puts himself in a different position, with a different relationship to the
partner with the outstretched hand, changing the meaning of the image, but
conveying an idea, emotion, feeling this is a dialogue of images, not just a
juxtaposition. Then the first partner comes out of this new frozen image and looks
at it. When he was inside it, he had a feeling; outside it, the remaining partner in
the image staying frozen and now alone, the image will have a different meaning,
evoke a different emotion, idea, etc. So, he completes it, changing its meaning
again. And so on, the partners alternating, always in a dialogue of images. The
players should look quickly at the half-image they are completing, arranging
themselves in a complementary position as fast as they can not only to save time
but to avoid thinking with words and translating them into images; like the
modelling exercises, the actors should think with their bodies and their eyes. It
does not matter if there is no literal meaning to the way an actor chooses to
complete the image the important thing is to keep the game moving and the
ideas flowing. Then the Joker can add a chair to the game, two chairs, an object
or two objects how does this affect things, how does it change the dynamic?
3. Furnish the empty space - Two actors face to face. One moves and the
other fills the empty space; if one draws
The memory of 1. Memory and emotion: remembering a day in the past - This is the same
the senses exercise, but perhaps nothing important happened the day before or that
morning. So each person must have by their side a co-pilot to whom they recount
a day in their past (last week or twenty years ago) when something really After each activity
important happened, something which made a profound impression on them, the participants are
No need for memory of which provokes emotion, even today. Each participant must have a invited to give
6. special co-pilot; peoples experiences are not the same as the co-pilot listens he is at feedback about
preparation. the same time creating another image in his mind. The co-pilot should help the their experience
person to link the memory to the sensations, by asking lots of questions related and feelings during
to sensory details. The co-pilot is not a voyeur; he should use the exercise to try the exercise.
to create the same event in his own imagination, with the same details, the same
emotion, the same sensations which will be different, of course, because they
will be his own.
20
 2. Memory and emotion and imagination - The same system with the help
of the co-pilot you try to remember something which really happened. You try to
reawaken the emotions and sensations you felt at the time, but this time the co-
pilot (who must be a genuine co-pilot, co-feeling the same sensations and sharing
the same images) now has the right to introduce various elements which were
not in the original version: extra characters, additional events. And the actor-
protagonist must introduce these new elements into his imaginary world. Thus
both protagonist and co-pilot are participants in the creation of a story, part
reality, part fiction, but moving in its totality, evocative of powerful images and
sensations. With practice, the fictional elements introduced by the co-pilot can
become further and further removed from the reality, even to the point of
surrealism. But people should set out from the probable and the possible to arrive
at the improbable and impossible, which can still generate emotions and awaken
sensations.
3. Remembering an actual oppression - Same exercise. This time the co-
pilot may only suggest possible actions which might eventually lead to the
breaking of the oppression being related. It is up to the protagonist herself, in her
imagination, to break the oppression, even if she is following the co-pilots
suggestions.
4. Rehearsal on the stage of the imagination - Everything you have done in
imagination must immediately be played on stage. The other actors help, the
protagonist and the co-pilot play director, and you try to play physically
everything that has been played in the imagination. You use the same objects,
you try to repeat the same phrases, etc.
Telling a story 1. Person to person - Everybody gets into pairs. The workshop leader calls
out the names of parts of the body, which the partners must join together; for
After each activity
instance, Head to head the partners must join their heads together; or Foot
participants are
to elbow one partners foot must touch the others elbow (and vice versa, at
No need for invited to give
the same time, if it is possible). The game is cumulative, i.e. when the partners
7. special feedback about
have conjoined two parts of their bodies they must keep those together while
preparation. their experience
carrying out the next instruction. The actors can make the contacts in any way
and feelings during
they choose, sitting, standing, lying, etc. After four or five instructions which have
the exercise.
tangled the pairs together, and taken the game to the limit of physical possibility,
the workshop leader shouts Person to person, the pairs separate and everyone

21
 finds a different partner then the process starts again. A number of different
people can have turns at calling the instructions.
2. Three image story - Divide the participants into pairs. Explain that the
purpose of the activity is to listen to your partner with total focus and with your
whole body, and to try to catch the three main messages of the story. Direct both
partners to sit on the floor facing one another. Instruct the partners to share a
significant moment from the week with each other. One person from each pair
will share his or her story as the teller. The other person will focus intently as the
listener, but remain silent. After the tellers have shared their stories, instruct the
listeners to stand up in front of the tellers and create three silent images based
on their perceptions of the story theyve just heard. The images can be realistic
or abstract. After the listener plays back the three images, he/she should make
eye contact with the teller to honor him/her for telling their story. The listener
and teller swap roles and repeat.
Closing the group Chairs for all After each activity
and feedback participants participants are
The Hot Chair participants are taking turns. Everybody sits on a chair in the
and a special invited to give
8. center of the circle and three or four participants show him/her movements
chair (other feedback about
expressing their feelings about him/her. Feedback should be positive.
than the their satisfaction
others). with the training.

5. WORKING WITH HETEROGENEOUS GROUPS IN FORUM THEATRE

GENERAL DATA OF MODULE: WORKING WITH HETEROGENEOUS GROUPS IN FORUM THEATRE
Title of module: Working with heterogeneous groups in forum theatre
Amount of credits (ECTS): 1
Amount of total hours: 28
Amount of theoretical training 0
hours:
Amount of practical training hours: 28
Learning resources needed: Sound equipment
22
 Learning spaces requirements: Open, safety place or large rom minimum 5 m. x 8 m.
Learning strategies / methods Forum theatre
applied:

SPECIFIC DATA OF MODULE:

Aim of training module:
Objectives of training module:
Measuring and evaluation of
learning outcomes:
To help the participants to work together in heterogeneous group, express their abstract thoughts, feelings
and imagery in an embodied form and help them to make sense of ourselves. It is of particular relevance
to those who have or want to apply Boals techniques in multicultural environment.
- Feeling what we touch (restructuring muscular relations)
- Listening to what we hear
- Dynamising several senses
- Seeing what we look at
- The memory of the senses
Feedback form

LEARNING TOPICS:
No. Learning topics Total hours Theoretical hours Practical hours
1. Presentation of the participants and energizing 3 0 3
2. Feeling what we touch (restructuring muscular 4 0 4
relations)
3. Listening to what we hear 4 0 4
4. Dynamising several senses 4 0 4
5. Seeing what we look at 4 0 4
6. The memory of the senses 3 0 3
7. Telling a story 3 0 3
8. Closing the group and feedback 3 0 3
Total 28 0 28

23
WORKING WITH HETEROGENEOUS GROUPS IN FORUM THEATRE. LEARNING TOPICS: DETAIL DESCRIPTION

Preparation Evaluation of
No. Learning topics Implementation of activities
for activities activities
Presentation of 1. Gesture and Name - Participants are in a circle. Invite a participant to tell
the participants his name a show a gesture. Then the second in the line takes turn by repeating the
and energizing name and the gesture of the previous one. Thus, the last one should be able to
repeat all the names and gestures of the participants. In bugger groups participants
are allowed to help each other.
2. Good day - Especially useful when starting a Forum Theatre session with
lots of people who have never met before: everyone has to shake hands with a
stranger and say their own name; they can only let go of the other persons hand
when they have grabbed another hand to whose owner they will say their name
After each activity
and so on.
participants are
3. Game with Hands - All participants kneel down , hands on the floor.
No need for invited to give
Everyone puts their right hands between the hands of the neighbour. Thus the
1. special feedback about
hand is in between two other hands of two different participants. The game is done
preparation. their experience
as follows: the first hand hits the floor, the next hand in line takes turn. The aim is
and feelings during
to make a circle with hands hitting the floor, one by one, keeping rhythm and
the exercise.
regular intensity. Then you introduce an additional rule: if a hand hits the floor
twice the order should be reversed. The game is played until full coordination of
the group is achieved.
After that, every participant should remove his hand from the circle by telling an
argument why he does so, for example: "I am removing my hands from the circle
but Helen's hands will stay because she has got a ring, and I have a got a ring too."
So, in order to remove one's hands participants should point out something in
common with the other one. It is recommended that common things should not be
repeated.
Feeling what we 1. Balloons- The workshop leader throws a number of balloons in the air (one,
After each activity
touch two, three, asmany as necessary), wafting them in the direction of the actors. The
participants are
(restructuring actors mustkeep them in the air, touching them with any part of their bodies, not
2. Balloons invited to give
muscular just hands,as if their bodies were part of the balloons theyre touching; the actors
feedback about
relations) should bestimulated to think of their own bodies as balloons, inflated, flying
their experience
through theair alongside the actual balloons. The effect can be relaxing.
23
2. lastic circle - the actors join hands to form a ring and then move apart till and feelings during
only their fingers are touching, while their bodies continue to move as far away as the exercise.
possible. After a few moments, they do the opposite and cluster together in the
middle, trying to occupy as little space as possible. The whole thing can be
combined with a voice exercise when moving apart, the actors vocalise sounds
which express their desire to touch one another, and when touching, they make
sounds expressing their desire to be apart.
3. The circle of knots - Make a circle, holding hands. The actors must not
change their gripor loosen it for the duration of the whole exercise. One person
starts to moveforward, pulling his neighbours after him (always slowly, without
violence, witha light touch) and he travels over or under the hands of the people
opposite, as iftying a knot. Then a second actor does the same, then another, then
two or threeat a time, over or under, till everyone has made all the knots possible,
and everyoneis so tangled that no one can move any more. Now, very slowly and
withoutviolence, and above all, in silence, without words, and still without
unlinkinghands, everyone tries to untangle the chain and get back to their original
positions which is sometimes achieved.
4. Joe Egg- Ask the group to form a circle an arms length apart, with
everybody standingfacing the centre, holding their bodies absolutely upright. Then
they must leantowards the centre without bending at the waist, or arching their
backs, or liftingtheir heels off the ground like the Tower of Pisa. Next, ask them
to lean outwardsin the same manner (without lifting their toes). Then repeat the
whole sequenceseveral times, towards the centre, towards the outside.Then they
do the same thing towards the left and towards the right, still withoutbending in
the middle, without lifting the feet.Ask them to describe a circle in the air with
their bodies, leaning into the centre,to the left, outwards, to the right, into the
centre, etc. Then the same thing theother way round: centre, right, outwards, left.
Several times.Ask a volunteer to go into the centre of the circle. Everyone tightens
the circlearound her, so it is now made up of bodies touching shoulder to shoulder.
Theperson in the middle must close her eyes and do the same leaning
movementsas before, but this time she is going to let herself fall. When she falls,
everyone inthe circle must support her with their hands (giving a little as her body
meets theirhands so that there is no abrupt impact) and then propel her gently
back towardsthe centre, where she doesnt come to rest, because she starts to fall
in anotherdirection, and thus it goes on. It is very important that there are always
24
 at leastthree people at any given moment taking care of the person in the middle.
At theend, if you want, you can roll the person around the circle, instead of
immediatelystanding her up in the middle again.
5. The Circle of Trust - everyone, including facilitator, stand tight in a circle.
Participants turn to the right back to back, hands on the shoulders of the person
in front. Facilitator explains that when he says 1,2,3, sit, participants should
repeat after him and when they say "sit" everyone has to sit in the lap of the person
behind keeping his/her hands on the shoulders of person in front. In order to be
able to do the game, the group may move forward making small steps, participants
holding each other with their shoulders.
6. The movement comes back - One actor starts a repetitive action (a
rhythmic tap or squeeze or whatever) on the shoulder of the person in front of
him, who must then repeat exactly the same thing on the person in front of her,
and so on, till the motion returns to the person who started it. At that point, the
originator changes the motion or the rhythm (or both).
Listening to what 1. Musical chairs - A well-known childrens game. A circle of chairs facing
we hear outwards, with one less chairs than the number of actors playing. A musical tape
is played, which the workshop leader stops every now and then; or, in the absence
of a tape player, the actors sing a song, and from time to time the workshop leader
shouts Stop. At this point, all the actors must try to get a seat, and naturally one
person is left without a chair. The person who is caught out removes another chair
and the game starts again. So on till there is only one person left.
After each activity
2. Goofy - All participants close their eyes and start looking for Goofy using
participants are
their hands and saying "Goofy" every time they come across each other. Goofy,
invited to give
secretly chosen by the facilitator, is the only one who does not speak at all. When
3. Chairs feedback about
somebody finds Goofy (when he meets someone and does not get an answer at
their experience
all) he goes behind him and becomes Goofy too. So, he stops answering to the
and feelings during
others and do not let the first one go. Slowly, a small train of Goofies is forming.
the exercise.
The game finishes when everyone is lined up , they open their eyes and see who
Goofy has been from the very beginning.
3. Changing rhythms - Using voices, hands and feet, all the actors set up a
rhythm together. After a fewminutes, they change it slowly, till a new rhythm
emerges, and so on, for severalminutes.
4. Horseshoe rhythms - In a horseshoe formation, on the floor, someone
starts a rhythm which must travelright round the horseshoe to the other end. Then
25
 the person at the other end startsanother rhythm and it goes back in the other
direction. Each participant willalways be in the middle of doing one rhythm till he
replaces it with the rhythmwhich arrives on his left or right.
5. Chain rhythm dialogue - One person thinks of something he wishes to
express and tries to translate whathe has thought into a rhythm of movement and
sound (not simply mimickingthe sound of the words!). His interlocutor watches
him and answers him, butaddresses the answer to a third person, who listens to
him, and addresses a fourthperson, etc. At the end, the participants tell each other
what they were thinking,reproducing their rhythm while giving the translation.
6. A, E, I, O, U - All the actors cluster in a group, and one person comes and
stands in front of them.The group must make sounds, using the letters A, E, I, O
and U, changing thevolume according to how near or far away the single actor is.
When the volumecontrol actor is far away, the group gets louder and when he is
close, they getquieter. The actor can move anywhere he likes around the room.
The individualactors who make up the group should be trying to communicate a
thought oremotion to the actor, not just making noise.
Dynamising 1. This Morning - Participants are in a circle: everyone introduces himself by
several senses stepping forward and making a gesture/movement that they did when they woke
up in the morning ( without talking). The aim is that all participants should
concentrate and be able to repeat the movements of the others during the second
turn within the circle and create a short story repeating the movements according
to the order of their performance. The new task of the group is to create a short
story entitled "This Morning" by using all gestures and movements After each activity
2. TIGER/TREE - Direct participants to walk around the room without talking. participants are
No need for Explain that each person should silently select a tiger, someone in the group who invited to give
4. special they will try to keep as much distance from as possible. Participants should not tell feedback about
preparation. anyone who they have selected as their tiger, including the tigers themselves. After their experience
a few minutes, instruct participants to select another person as a tree, without and feelings during
letting that person or anyone else know that they have been selected as a tree. the exercise.
The facilitator then gives the instruction for each participant to keep the tree
between themselves and their tiger. Their goal is to keep their tree between
themselves and their tiger at all times.
3. Amplification circle - Stand in a circle with the participants. Perform a
small, simple movement (ex. scratch your face, tug on your ear). Instruct the
participant standing next to you to add on to this movement, amplifying your
26
 original actions so that they are bit larger and more animated. Direct the next
participant to amplify the action even further, so that the movement increases in
size, sound, and emotion as it moves around the circle.
4. The blind person and the bomb - A blindfolded actor, surrounded by the
other actors. The blind person mustimagine that a bomb will explode if she
touches someone for longer than a second.At each contact, she moves as far away
as possible. This exercise produces anincredible development of the senses.
5. The participants run slowly - Running slowly is not the same as walking
quickly. From time to time the Joker says Stick and immediately the actors stick
together in groups of three, five, or more, but without stopping. Everyone must
keep running, which is extremely difficult. Then the Joker says Separate and
everyone must separate. And then it starts over again, with the participants still
trying not to leave empty spaces onthe floor of the room.
1. The plain mirror - Two lines of participants, each person looking directly
into the eyes of the person facing them. Those in line A are the subjects, the
people; those in line B, are the images. The exercise begins. Each subject
undertakes a series of movements and changes of expression, which his image
must copy, right down to the smallest detail. The subject should not be the enemy
of his image the exercise is not a competition, nor is the idea to make sharp
movements which are impossible to follow; on the contrary, the idea is to seek a
perfect synchronisation of movement, so that the image may reproduce the After each activity
subjects gestures as exactly as possible. The degree of accuracy and participants are
No need for synchronisation should be such that an outside observer would not be able to tell invited to give
5. Seeing what we special who was leading and who was following. All movements should be slow (so the feedback about
look at preparation. image may be able to reproduce and evenanticipate them) and each movement their experience
should follow on naturally from the last.It is equally important that the participants and feelings during
be attentive to the smallest detail,whether of bodily or facial expression. the exercise.
2. Subject and image swap roles - After a few minutes, the Joker announces
that the two lines are going to swaproles. He gives the signal, and at that precise
moment the subjects become theimages and vice versa. This changeover should
be carried out without affectingthe continuity or the precision. Ideally the
movement which was happening atthe moment of changeover should be
continued and completed, without any senseof breakdown or hiccup. Here again,
the outside observer should not be able toperceive the change of roles, and this

27
 invisibility of changeover can be achievedif the synchronisation and imitation of
actions are perfect.
3. Subjectimage, imagesubject - A few minutes later, the Joker announces
that when he gives the signal, the participants in both lines are to be simultaneously
image and subject. From that point on, each partner has the right to do any
movement he wants, together with the duty to reproduce movements made by his
partner. And this must be done without either partner tyrannising the other. It is
absolutely vital that each feels completely free in his movements, but at the same
time insympathy26 with his partner, so that the partners movements are followed
asfaithfully as possible. These qualities of freedom and sympathy are essential. In
thewhole of this sequence, the aim is not to make movements which are difficultor
impossible to imitate; going fast does no good, quite the reverse. The key to
theexercise lies in synchronisation and fidelity of reproduction.Up to this point,
communication remains exclusively visual, and everyonesattention should be
concentrated on their partner first on the eyes, then taking inthe whole body, in
concentric circles. It is not advisable to watch hands or feet;in the act of looking
into someones eyes and following the movements of theirbody, hands and feet
will enter naturally into the field of vision.
The memory of 1. Memory: remembering yesterday- The actors must be sitting quietly on
the senses chairs, completely relaxed. They must slowly move each part of their body in
succession, concentrating solely on that part, in isolation. Eyes closed. Then the
Joker starts encouraging them to recall everything that happened the previous
evening, before they went to bed. Each detail must be accompanied by bodily
sensations taste, smell, tactile sensations, shapes, colours, outlines, depth, After each activity
sounds, tone, tunes, noise, etc. The actor must make a special effort to remember participants are
No need for his bodily sensations and try to re-experience them. To make the operation easier, invited to give
6. special he should repeat the movement of the relevant part of his body; if he is thinking feedback about
preparation. about something hes eaten, he moves his mouth, lips, tongue. If he is thinking their experience
about a shower hes taken, he moves his body, the skin which was in contact with and feelings during
the water; if he is thinking about a walk he took, he moves the muscles of his legs, the exercise.
his feet. After this, the Joker continues the probing, now pushing the actors to
recall what happened to them that morning. How did they wake up? With an alarm
clock? Did someone wake them? The sound of the alarm, the persons voice what
were these things like? They are asked to give the most minutely detailed
description of the face of the first person they saw. All the details of the room they
28
 slept in, of the room they breakfasted in. Then, the means of transport they used.
Their travelling companions? Underground, bus, car? The sound of the door
closing, etc. Always searching for the details, the most minute details of the bodily
impressions, and always with the small movements of the relevant part of the
body, which must accompany the memory. Finally, their arrival in the room they
are in. Whom did they see first? Which voice did they hear first? A sensory
description of the room, with as much detail as possible. Now where are they?
Next to whom? How is everyone else dressed? What objects are there in the room?
Open your eyes. Compare.
2. The image of the hour - The Joker calls out a time of day, and the actors
must do whatever movements their bodies usually make at that particular time.
The Joker runs through different times, different occasions, significant dates etc.:
6 oclock, 7, 8, 9, midday, 14:00,
1.
Telling a story 1. Red Riding Hood the group is divided into smaller groups of 5-6 people.
Their task is to play the tale about Red Riding Hood but the wolf should be good-
mannered. All groups make their presentation whereas audience can interfere and
change the plot and the characters.
2. Making a Story - the group is in a circle. Everyone picks an object from
his/her bag and puts it in the centre. Then everyone explains why the object is in
his bag and explains its characteristics. If the same object is offered several times (
for example, keys, mobile or wallet), the facilitator asks participants to chose from After each activity
History
a number of preliminary chosen by him objects or things (different materials, participants are
related
including photos from magazines, etc.) Participants' task is to create a story with invited to give
objects,
7. the chosen objects. The story is guided by the facilitator according to the rules feedback about
photos from
which have been accepted by the group at the very beginning: one should speak their experience
magazines or
only if it is his turn,; every time one sentence should be said related to the topic; and feelings during
newspapers.
one should speak in third person singular ; the next sentence should contribute to the exercise.
developing the story; one should not comment on the events or explain emotional
aspect of the action; there should not be a dialogue; the story should contain as
many sentences as the number of participants; there should be a beginning, a
development and an ending.
At the beginning, the facilitator stops the story and asks participants to give it a title
and define its kind - for example, if it is a thriller, tragedy, drama, comedy, etc.
When the story is finished the group is divided into two subgroups having the task
29
 to dramatize the story in a short performance using dialogue or other form of
verbal communication. The scene should be on a concrete topic for example: "The
Diary of the Main Character", "Two neighbours are commenting on events", or
"Characters' behavior in the story", "Two years later", "How characters have met
each other before the story starts".
3. My Story - Our Story everyone has 5 minutes in order to share personal
story with the others. Then the whole group should create a story made of
everyone's personal story.
4. Live Photos - the group is divided in two subgroups. The facilitator
suggests the participants to choose a picture or a photo from a series describing
events from social life. (another possibility is to make participants choose from
small cards with written words describing those events). Each group should create
a still image (a photo) of what they have chosen, and the other group should guess
what scene or even the performing group is presenting. Each group "gives life " to
the image for a while but before this, participants should have discussed and
agreed what is happening before and after the shooting" of the event they are
presenting. Members of the other group are invited to enter the scenario by
positioning themselves in the still image (adding a character), according to their
interpretation. Thus, they will be able to show what they have understood from
the presentation and, in the same time, to have a possibility to present objects like:
trees, buildings or something else appearing in their imagination. After all
participants have taken their position in the photo, the facilitator asks "the actors"
: "Who are you? What are you doing? or How are you related to this character".
Facilitator asks by touching the participant on his shoulder, the participant answers
to the questions as a character from the story. Thus, a group character is created
with the contribution of each participant. When the image is unfrozen ,
participants can change the event through their roles. In order to get more
information about the main characters the facilitator invites them to sit in the
centre of the scene and asks them to share: who they are, what happens to them,
etc. (the actor answers according to his role).
Closing the group 1. Body Lines - the trainer has drawn in advance on a flip chart paper a human After each activity
Flipchart and
and feedback body described as follows: Head (1) new ideas / Eyes (2) perception or idea of participants are
sheets, color
8. the world / Mouth (3) communication skills / Heart (4) new emotions / Hands invited to give
markers (for
(5) new things to do / Stomach (6) my fears / Feet (7) intentions for the future. feedback about
each
The facilitator gives everyone a sheet of A4 paper and a marker; he invites their experience
30
 participant), participants to draw the figure and fill it in for 10-15 minutes. After they finish, they and feelings during
A4 paper. can share their drawings to each other or in front of the group and then deliver the exercise.
them to the trainer.
2. A Symbolic Gift - the game is appropriate both for bigger or smaller
groups.
The game is about giving imaginable gifts/presents (objects, ideas, state of mood,
etc.) Participants walk round the room; everyone stops in front of another
participant and "gives" him/her a symbolic gift.
3. STEW POT - Direct participants to sit in a circle. Explain that the center of
the circle is a stew pot that will soon be filled with all of the ideas that emerge. The
stew pot can be thought of as a reflection of the workshop. Encourage each
participant to offer a phrase, word or gesture that best describes his/her feelings,
new insights, or discoveries at the end of the workshop. After each person has
added his/her phrase or word into the stew pot, direct each participant to mime
using a spoon to take a big dip into the stew pot and taking a sip.

Total . .. ..

References for facilitators in topic:

Literature:
1. Games for Actors and Non-Actors, By Augusto Boal, Translated by Adrian Jackson, Published by: Routledge, UK, 2nd edition, 2002, ISBN:
978-0415267083
2. Drama for Conflict, Transformation Toolkit, YOUTH THEATER FOR PEACE

31
 6. MULTIPLICATION AND GENERATION OF AUDIENCE FOR FORUM THEATRE
GENERAL DATA OF MODULE:
Title of module:
Amount of credits (ECTS):
Amount of total hours:
Amount of theoretical training hours:
Amount of practical training hours:
Learning resources needed:
Learning spaces requirements:
Learning strategies / methods
applied:
SPECIFIC DATA OF MODULE:
Aim of training module:
Objectives of training module:
Measuring and evaluation of learning
outcomes:
Forum Theater or the Community Theaters
1
28
12
16
Opportunity to see at least 2 theatrical shows on the subject
Classroom + theater
The learning method is inspired by the pedagogy of "learning by doing" (J.Dewey) and the dramatic
formation emerged from the theatrical experiences of the second 900 in Italy and Europe (entertainment,
street theater, storytelling, active citizenship theater, etc.)
Training of cultural mediators and the public on the issues and forms of theater as a forum of community
theater. In particular, the school theater and the theater of detainees in prisons or in reformatories
To form mediators in the liaison function between the public that attends and the path of the "school
community" and the "prison community".
Prepare the audience for this experience of theater vision and enjoyment.
Concerning cultural mediators, the evaluation takes place during the theoretical-practical training course
and through a report or essay to be presented at the end of the course. As for the public, there is the
provision of special papers (before and after the experience) interviews. Then a subsequent processing of
the responses and data collected is required.
32
LEARNING TOPICS:

No. Learning topics Total hours Theoretical hours Practical hours

1. Historical and methodological

introduction on the
2 2 0
development of community
theaters since 1970
2. Types of community theater
8 2 6
and approach techniques
3. Requirements and skills
required to cultural mediators.
3 3
Professional profiles and fields
of work
4. The dramaturgy: national and
international examples with 6 2 4
video projection documents
5. Development of an
intervention project in the
9 3 6
field of education and social
affairs
Total 28 12 16
5

33
MULTIPLY AND GENERATE AUDIENCE FOR FORUM THEATRE. LEARNING TOPICS: DETAIL DESCRIPTION
No. Learning topics
Historical and
methodological
1. introduction on the
development of community
theaters since 1970
Types of community theater
2.
and approach techniques
Requirements and skills
required to cultural
3.
mediators. Professional
profiles and fields of work
The dramaturgy: national
and international examples
4.
with video projection
documents
Preparation for activities
Provide study materials and
documentation
discussing relevant issues addressed
2 hours of theoretical lesson
Provide adequate knowledge of the
phenomenon being studied
Insights through reference
bibliography
Provide study materials and
documentation
discussing relevant issues
addressed
2 hours of theoretical lesson
Provide adequate knowledge of the
phenomenon being studied
Insights through reference
bibliography
discussing relevant issues
addressed
3 hours of theoretical lesson
Insights through reference
bibliography
Provide study materials and
documentation (also video)
discussing relevant issues addressed
2 hours of theoretical lesson
Provide adequate knowledge of the
phenomenon being studied
Implementation of activities
Open lessons
Active listening and participated
Open lessons
Active listening and participated
Fill out a document on your person.
Where do you come from?
What results do you want to get in
the project?
Your contribution to the project ...
Write, discuss and see many
examples of community theater.
Evaluation of activities
At the end of the module, a
short test will be given to
evaluate only the
understanding of the topics
discussed and any further
investigation
During the hours of practice,
you can observe the
acquired skills.
Conducting small groups
interpersonal skills
Emotional participation
Look at the entire trail
Any difficulties to keep in
mind
collect testimonies and
responses of the course
participants
evaluating the choices,
content and aspirations of
the participants
in case, recalibrate the
content based on who I
have in front of me
Administration of a short
test that collects
impressions on what they
see and hear
Diversify the type of offer
based on the participants

Development of an
intervention project in the
5.
field of education and social
affairs
Insights through reference
bibliography.
Study and documentation about the
past design Collection of ideas
Writing different projects to
Benefit analysis Drafting a work project
be implemented in the
Study on the recipients Planning the expected results
educational and social field
Delivery of handouts and thorough Any changes to be made in the future
investigation

References for facilitators in topic:

1. E.POZZI- V.MINOIA (1999), Di alcuni Teatri delle diversit, ANC Edizioni
2. L. PERISSINOTTO (2004-2013), Animazione Teatrale. Le idee, I luoghi, I protagonist, Carocci
3. F.DE BIASE (a cura di, 2008), Larte dello spettatore, Franco Angeli
4. G.PEDULLA (2007), Alla periferia del cielo. Percorsi teatrali e umani nel Carcere di Arezzo 1996-2004, Titivillus
5. E.POZZI- V.MINOIA (a cura di, 2009), Recito, dunque sogno. Teatro e Carcere, Ed. NuoveCatarsi
6. I. CONTE (a cura di, 2012), Il pubblico del Teatro sociale, Franco Angeli
7. F.DE BIASE (a cura di, 2014), I pubblici della cultura. Audience development, audience engagement, Franco Angeli
8. M.DAMBROSIO ( a cura di, 2016), Il Teatro come metodologia trasformativa. Cartografiepedagogiche, Liguori

37