Investigating ritual drama and applied theatre as a tool of therapy
Applied theatre is not only a single specific function which covers different outlines of forms of theatre and performance but contributes to precise frequent characteristics which I will discuss thoroughly, but then it transforms into an expression referring to precise forms which it creates itself. It advocates that the dissertation that defines a restricted type of fundamental category, preserved in an evangelical structure. The innovative communication performs to prohibit a variety of previous performance practices that may previously have been considered and suitably placed beneath applied theatre rather than a single specific function. Also reflection is given to why the term was established, whether it provides a helpful purpose, and to its consequent route. In addition, this implies that one of the outlines that have been pressed out into discussion is drama is seen as a tool of remedy, which then I will look at and use relative viewpoints and examine the distinction between them both.
Augusto Boal theatre of oppressed Boal (2001, p.171) defines the ways in which the way of image theatre can be engaged as a dramaturgical structure of decolonisation. I identify with decolonisation as a method that entails only the political alteration of nation-states, however, the expression and renovation of leading ideologies are at the height of communities and individual bodies. This is surrounded by the perspective of a decolonising dramaturgical practice stranded in pedagogy of personified learning. Also, image theatre provokes a holistic approach which makes use of personified language and the demonstration of social reality and individuality.
By understanding the development of colonialism, i will use examples of substantive analysis’s of wide range of post-colonial theorists. Theorists at hand use language that requires a collective community and shared theory to present significance. Similarly, a group needs language in order to think of itself as a society. Similarly language is linked to community. Theorists use language and all expression made known as a historical consciousness. By initial communication technique that does not consists on speech. Theatre of oppressed Boal (2001, p.171) embedded in applied theatre which challenge to generate a mutual communal language through which theorists can use their familiarity and expand their awareness through body image. Understanding the individual experience based on memory, using Boal method in knowledge of shared relations. Applied theatre is a dramaturgical structure that maintains to smear information and material way of life.
This is by instructing two types that are interrelated and comprise in one another. A structure that links an understanding to perceptive, this is a holistic approach concerning decolonising theatre and that theatre of the oppressed suggests that objectification is thus essential concerning culture of domination.
A main element to a decolonising instructive practice is the significant evaluation of hegemonic practices such as essential fundamentals of theatre of the oppressed in common and applied theatre in particular. Boal describes image theatre in (games for actors and non-actors) Boal (2002, p.15) image theatre as a method that challenge to discover stipulations of society’s rituals, Boal expresses ritual gestures and symbols. Boal also describes these symbols as ‘visual expressions of the oppression at the heart of society’’ and describes the resources of social ritual.
Drama and theatre is also used to seek potential response to issues such as hiv/aids in some countries (the guardian, 2012, p.4) such as Malawi and Uganda and this necessity of passing on necessary information about hiv/aids, by means of government and non- governmental organisations (NGOs) guided to discovery of drama groups. This theatre form of development is...