Invisible Theatre -2

Oct 9th, 2015

  • had an open discussion about invisible theatre and its social impacts

Topics discussed

  1. Why does a piece invisible theatre need to be organized through rehearsals and written scripts?
  2. What does “The actors must live” mean?
  3. If a invisible theatre should bring up issues of burning importance, who decides it?
  4. How is invisible theatre applicable to Branksome Hall Asia?
  5. By extension, how can invisible theatre be applied to Korea?
  6. Is every invisible theatre devised to edify the mass? (i.e. Samsung’s invisible theatre)

Question 1.

Why does a piece invisible theatre need to be organized through rehearsals and written scripts?

1. Structural Performance

First: Invisible theatre is dealing with socially sensitive issues around the world. Directors of invisible theatre want the piece to flow smoothly and be produced in a desired result. The more the crews spend their time on running through the same pieces, the more structured the performance is.

2. Exclusion of actors’ perspectives 

Second: A scripted to prevent actors from disclosing their personal beliefs and stereotype apart form the characters they are given. Directors and actors should make a clear line between theatre and reality even though they should be in an alive state.

3. Clear storyline

Third: The storyline will be the same no matter how many times it happens.

2.

What does “The actors must live.” mean?

This means the actors should be in characters.

Invisible theatre, like other types of theatre, is theatre. The only difference is that the audience is completely deceived and the show ends without revealing truth. The actors should be alive as characters throughout the performance.

Irene raised some point about this statement, arguing this is a must in theatre.

3.

How is invisible theatre applicable to Branksome Hall Asia?

Racism against Chinese people

4.

If a invisible theatre should bring up issues of burning importance, who decides it?

Both oppressed and non-oppressed group

Some students were skeptical of the aim that invisible theatre pursues, arguing that the importance and urgency of issues differ from people to people and regions to regions. For example, in the case of BHA doing invisible theatre on anti-chinese prejudice, there needs to be both Korean and Chinese students’ mutual understanding of the significance of problem.

5.

By extension, how can invisible theatre be applied to Korea? What are some complexities that should be considered?

Hierarchy in Korea

The application of theatre will not be efficacious in Korea unless the complexities are tackled; for example, If a director is planning to address the hierarchal system in Korea, the director should be fully aware of the cultural context – the director has to consider a situation where the audience is put into a dangerous position. (i.e. A spect-actor who is an employee of a department store has to risk the danger of getting discharged when he/she decides to engage in the show.)  Furthermore, a director must consider whether he/she is forcing his own bias into the audience.

6.

Is every invisible theatre devised to edify the mass? (i.e. Samsung’s invisible theatre)

Not always

Samsung’s invisible theatre is more designed to enhance its brand value. Pranks in TV show is created in a more provocative way to gather more viewers.


Forum Theatre

Forum theatre was developed in Latin America as a means of coping with the overriding problems of the lives of ordinary people. The forum is facilitated by the ‘Joker’ for the Forum, an enhancer of the sessions. The Joker stays out of the show and never intervenes in the situation, however, aid the audience in coming up some solutions.

boal session


Exercise and Games for Invisible Theatre Actors

Rhythm with chairs

  1. 5 actors have a chair and each create a frozen image using the chair.
  2. The facilitator gives a number to each image.
  3. The rest of the group moves around the space and at any time the facilitator will call out one of those numbers, the group replicates.

Boal’s Ball

  1. Choose a ball; play with it using your entire body.
  2. Create a regular, repetitive, rhythmic action sound to accompany the ball.
  3. “Exchange Balls” – when you receive the ball, adopt that person’s movement and sound

Reference.

organizingforpower.org/wp-content/…/03/games-theater-of-oppressed.pdf

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s