Playback Theatre, social justice and empathy: A diffractive review

This article explores the relationship between social justice and Playback Theatre practice. In lieu of a diffractive approach, this study breaks away from representational forms of research such as the traditional literature review. Instead, the author strives to review the selected studies as alive and dynamic, with the ability to activate new insights when creatively played with and re-examined. This review traces selected Playback Theatre research that has sought a deeper understanding of empathy in Playback Theatre practice and its relationship with social justice. The author foregrounds what has resulted from these studies regarding empathy in Playback Theatre and their relationship with Nancy Fraser’s social justice model, particularly the cultural dimension of recognition. This review offers a social justice definition relevant to Playback Theatre while seeking to explore how this informs the artistic dimension of Playback Theatre enactments.

Community-based performances of harmonious diversity: Happy talk and utopian performativity in Playback Theatre

In this article, we examine a Playback Theatre performance in which audience members perform their appreciation for living in a diverse community, engaging with the performativity of happy talk surrounding diversity. Happy talk is largely considered to support the status quo of White supremacy, letting those who benefit from dominant systems of power off the hook. However, in this event it appeared to operate instead as a utopian performative. The racially and ethnically diverse storytellers in the workshop narrate positive stories about the diversity in their community, and they do so for a reason. This article looks at the hope animating the event.

«Playback theatre» як форма «entertainment» у сучасній культурі

Розглянуто «рlayback theatre» як форму «еntertainment» у сучасній культурі. Окреслено, що «рlayback theatre», виступаючи різновидом інтерактивного театру імпровізації, включає в себе дві основні комплементарні практики, де є партиципативні й емерсивні аспекти. Охарактеризовано такі структурні елементи «рlayback theatre» як: «рідка скульптура» (заснована Дж. Фоксом); «трансформація», «хор», «п’ять елементів», «картина», «фото», «колаж», «Доміно», «Розетка», «Епізоди». «Playback theatre» як форма «еntertainment» у сучасній культурі виступає альтернативою «технообразам», підтримуючи традиційні «текстообрази» з властивою їм інтерпретаційною особливістю. Сутність «рlayback theatre» у сучасному контексті полягає у активізації «нового мистецтва» для виявлення розкриття внутрішнього потенціалу особистості.

Pengenalan Playback Theater sebagai Metode Berteater untuk Melepaskan Ketegangan

Various ways used to express ideas, feelings, and opinions. Art is one of the most effective modes to convey emotions. Playback theatre by combining artistic relation and social relation becomes a method applied. Playback theatre concerns with the telling process. Pre-test and post-test were conducted to identify the previous knowledge of the participants before providing materials and to recognize the knowledge after the activity. The empowerment activity results show that playback theatre has a positive impact on the participants to reduce nervously and it establishes chemistry between actors and music players so that the performance could be satisfied and better. It is expected that other lecturers or researchers implement and develop the playback theatre method to decrease tension and nervousness in playing roles as actors.

Liezel’s story – #NotInMyName: Playback Theatre in Post-apartheid South Africa

This chapter explores a stop moment in light of a story told during a Playback Theatre performance (PT) in South Africa. The inquiry guiding this chapter asks: How may diffractive encounters through a stop moment in PT illuminate possibilities for dissensus? The stop moment is examined to reveal how the distribution of the sensible has impact on women’s lives in post-apartheid South Africa, through the eyes of two Drama for Life Playback Theatre members: Kathy as conductor and Cheraé who was one of the actors. It argues that for PT performers to redistribute the distribution of the sensible and to stage dissensus requires a recognition and understanding of power on multiple levels.

Building empathic connections: Playback Theatre with adolescents

Playback Theatre (PT) training with youth may be uniquely suited to enable the development of healthy pro-social behaviour amongst adolescents. In this study, 22 participants who were engaged in the Keep the Peace Leadership Program (KPLP), a PT initiative addressing themes of bullying perpetration and victimization, were interviewed about their experience. Qualitative findings were translated into an ethnodramatic play entitled Phoenix Rising to illuminate how PT fostered dialogue about different kinds of bullying.