By James Thompson
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Extra resources for Applied Theatre: Bewilderment and Beyond (Stage and Screen Studies, V. 5)
It was a search for new shapes to make the work understandable. However, in occupying a certain discursive arena, it became hard to see beyond that arena. It is hard to see the boundaries of something when you are immersed in it. The transference of the practice back to Brazil made some of those boundaries more visible. Without seeing these edges, we can forget that lines around a field both shape and constrict it. The practice is explained, created and performed from within a restricted field and starts to loose the possibilities offered by others.
The project went on to be run across the state prison system and in 2002 it has become the ‘Staging Human Rights’ programme replicated in many states across Brazil. This initiative is now directed by People’s Palace Projects at Queen Mary, University of London, and has sought to use theatre to stimulate debate on issues of Human Rights in all sections of the Brazilian criminal justice system. Our venue in 1997 was the Salão Nobre – a huge cavern of a hall, with a high balcony at one end and a stage at the other – an opera house without the seats.
1079). A large proportion of my ‘behaviour’ is constructed with the remnants of ‘action matter’ that originally appeared in the behaviour of my parents. This is not a history or simple memory or an act of cognitive recall. It is not a glimmer of an interaction; an ancient scene constructed out of picture fragments and barely remembered words. It is not I as a subject creating them as my desired other self. Fathers and mothers, parents, are/were separate, but their past actions become marked on the bodies of their children.
Applied Theatre: Bewilderment and Beyond (Stage and Screen Studies, V. 5) by James Thompson