This article provides a detailed case study of “journalistic theater,” focusing on Teatro di Nascosto, an Italy-based international group creating public events in the Middle East and Europe. Employing a reconstruction method, the study explores the production process of The Catwalk (2018, 2019), a series of performances on people’s daily lives and emotional responses to current affairs in conflict zones. The article offers 3 main perspectives on news work at the intersection of journalism and performance arts. First, live experience performance can enhance news work with artist-journalists engaging in intimate relationships for which they “dissolve” in a real-life situation. Second, empathy-driven news work succors performers and audiences with a sense of hope for recovery and healing, drawn from communal experiences, and advancing journalism’s “emotional turn” with a compassionate orientation. Third, journalistic theater’s physicality extends news work with the stage as a platform and warrants a perspective of embodied journalism, spotlighting the human body as a medium.
De term muzisch gaat terug naar de mythe van de muzen in de Griekse oudheid. De muzen werden geboren uit een verbintenis tussen Zeus en Mnemosyne, de godin van het geheugen. Het was hun taak om de heldendaden van de goden te bezingen. Typerend aan de muzische activiteit was dat die het karakter had van een opvoering. De muzen bedienden zich niet gewoon van het gesprek om betekenis te delen, maar maakten er muziek en theater van. Geïnspireerd door dat beeld kijkt Bart van Rosmalen zowel naar de centrale activiteit in de begeleidingskunde - het gesprek - als naar een muzische theatrale voorstelling. Wat als de begeleider regisseur mag zijn en de deelnemers personages? Wat als het gesprek wordt gerealiseerd als de opvoering van een werk? De auteur laat zien hoe de individuele stemmen van deelnemers in een muzische benadering aan kracht kunnen winnen, om elkaar te vinden in een gemeenschappelijk verband. En hoe de openbare en publieke dimensie van het theater tot bloei kan komen vanuit de beslotenheid van de spreek- en leerruimten in ons werk. De muze en het muzische zijn al volop in het werk van de begeleidingskunde aanwezig. Het sluimert misschien, maar het zit erin en kan aangewakkerd worden.
Sinds de veranderde wet- en regelgeving in 2015 moeten sociale professionals leren om samen te werken in wijkteams. In dit hoofdstuk wordt besproken hoe participatief theater kan helpen bij het ontwikkelen van nieuwe handvatten of methodieken voor sociaal werk. Aan de hand van een casus wordt in detail uiteengezet hoe een wijkteam kan werken met forumtheater. Het blijkt dat forumtheater de ruimte geeft om op een verbale en non-verbale manier te leren. Ook biedt forumtheater de mogelijkheid om met zijn allen te komen tot een plan van aanpak. De paragraaf over de vier kwaliteitscriteria voor Arts-Based Research behandelt de voordelen van cocreatie, de mogelijkheid tot generalisatie van de bevindingen en de sterke evocatieve kracht van participatietheater.Ten slotte komt de vraag aan bod of het beter zou zijn als cliënten meedoen met het theater.
ALE organised an event with Parktheater Eindhoven and LSA-citizens (the Dutch umbrella organisation for active citizens). Five ALE students from the minor Imagineering and business/social innovation took responsibility for concept and actual organisation. On Jan 18th, they were supported by six other group members of the minor as volunteers. An IMEM-team of 5 students gathered materials for a video that can support the follow-up actions of the organisers. The students planned to deliver their final product on February 9th. The theatre will critically assess the result and compare it to the products often realised by students from different schools or even professional ones, like Veldkamp productions. Time will tell whether future opportunities will come up for IMEM. The collaboration of ALE and IMEM students is possible and adding value to the project.More than 180 visitors showed interest in the efforts of 30 national and local citizen initiatives presenting themselves on the market square in the theatre and the diverse speakers during the plenary session. The students created a great atmosphere using the qualities of the physical space and the hospitality of the theatre. Chair of the day, Roland Kleve, kicked off and invited a diverse group of people to the stage: Giel Pastoor, director of the theatre, used the opportunity to share his thoughts on the shifting role of theatre in our dynamic society. Petra Ligtenberg, senior project manager SDG NL https://www.sdgnederland.nl/sdgs/ gave insights to the objectives and progress of the Netherlands. Elly Rijnierse, city maker and entrepreneur from Den Haag, presented her intriguing efforts in her own neighbourhood in the city to create at once both practical and social impacts on SDG 11 (sustainable city; subgoal 3.2). Then the alderman Marcel Oosterveer informed the visitors about Eindhoven’s efforts on SDGs. The plenary ended with very personal interviews of representatives of two impressive citizen initiatives (Parkinson to beat; Stichting Ik Wil). In the two workshop rounds, ALE took responsibility for two workshops. Firstly the workshop: Beyond SDG cherrypicking: using the Economy for the common good’, in cooperation with citizen initiative Ware winst Brabant en Parktheater (including Social innovation-intern Jasper Box), secondly a panel dialogue on local partnerships (SDG 17) for the sustainable city (SDG 11) addressing inclusion (SDG 10) and the livability (SDG 3) with 11 representatives from local/provincial government, companies, third sector and, of course: citizen initiatives.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities. The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities.The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.Societal issueThe specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. Benefit to societyWe will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. Collaborative partnersChassé Theater N.V., Parkstad Limburg Theaters N.V.
