The Wildcard Workbook: Why Forum Theatre and Why Now?

Liz: Speaking of our favourite elements of the ebook and sections that illuminated Theatre of the Oppressed in new methods, mine is the part illustrating the dramaturgy of discussion board theatre. In TONYC’s trainings, we educate discussion board dramaturgy and the way that differs from a conventional Aristotelian dramaturgy arc. We meet the protagonist and perceive what they want, the antagonist says “no” or blocks the protagonist, after which there’s a “failure.” But what I like—a lot credit score to the illustrators—is that this workbook additionally exhibits what occurs through the discussion board: we soar again in and the story modifications. We take motion in the direction of inventive, collective interventions.

In this part of the workbook, the story instance focuses on John Pierre, who wants to search out housing for himself and his associate. He meets the antagonist: a landlord who refuses to lease to John Pierre when she realizes that he desires to maneuver in along with his same-sex associate. That’s a gatekeeper saying no due to who John Pierre is or who she perceives him to be. We have this second of disaster through which John Pierre might get what he wants or could also be denied.

In this discussion board play instance, the story ends in failure: John Pierre and his associate break up due to the stress of discovering housing. But after the play, when the Joker turns to the viewers to start brainstorming options, that second of disaster turns into a second when intervention is feasible. A “spect-actor” (i.e., an viewers member) can enter the scene and work together with the antagonist (e.g., they could strive calling a lawyer), after which the actors play out what may occur subsequent. For instance, on this improvisation, the characters might uncover that court docket charges are prohibitively costly. The drawback usually isn’t “solved” immediately; the issue modifications, and new data equips everybody within the theatrical house for the following actions which may be taken on stage and hopefully in actual life.

Katy: My favourite part was “Mistakes We Try Not to Make,” additionally known as “Unhelpful Intentions.” This part spells out—in a means that makes me chortle out loud—some errors I’ve definitely made earlier than however might need been afraid to confess to. If I think about, as an example, that I’m unbiased or that I “never oppress anyone,” these are each unattainable. To my thoughts, one definition of a Joker is a director or facilitator who goes residence each night time and performs over the “recording” of their thoughts of the rehearsal or efficiency and asking themselves, “Where was I biased? Where did I miss something or privilege a specific point of view?” In the ebook, we’ve created worksheets for inventive facilitators to replicate on their practices. One of these worksheets asks the Joker how they relate to energy, oppression, and privilege in their very own lives. I feel it’s actually necessary for Jokers or any community-based practitioners to have that dialog with themselves and with their collaborators.

I like that the ebook makes me chortle. TONYC considers enjoyable and humor essential substances for the revolution. Fun was a baseline worth in creating this ebook, from the colourful and playful illustrations to our personal technique of discussing and appreciating one another’s work.

We couldn’t supply a definitive map of what’s moral and what’s not, however we aimed to focus on the questions we take into account in our on a regular basis work.

Sulu: People ask us: “So is it okay to do a forum theatre if I’m working in this kind of space? Or if I’m working with this particular group of people or with this kind of story?” We held house within the workbook to assist people suppose by means of that. We can’t choose for anybody, however we attempt to assist individuals have that dialog with themselves and with the group that’s growing a discussion board theatre mission. So many individuals do not really perceive what discussion board theatre is till they’ve carried out it. Once they make the play and do the interactive discussion board, then all people concerned says, “Whoa, I get it!” So, it is laborious.

We additionally get questions on whether or not it’s okay to ask individuals to share their tales in a growth course of, which is known as a query in regards to the energy dynamics: Who is the asker and who’s being requested? In a spotlight group we held with TONYC group members whereas we have been growing this ebook, we had a dialog about with the ability to say no to a facilitator. One of our actors shared that in each group house he’d beforehand been part of, he by no means felt allowed to say no a request. In order to be secure and keep away from being penalized, he felt like he needed to say sure. It was solely by means of being in rehearsals with TONYC’s Jokers that he realized he was being provided that possibility, and it took a number of years of being in these rehearsal areas earlier than he may begin utilizing the phrase “no.”

These dynamics of energy in theatremaking areas are essential. We’re speaking about Theatre of the Oppressed, however we’d as properly be talking with the overall theatremaking world and reflecting on a few of our private experiences of energy imbalances and hurt in these areas. We couldn’t supply a definitive map of what’s moral and what’s not, however we aimed to focus on the questions we take into account in our on a regular basis work.

Liz: We’ve talked about that in Theatre of the Oppressed, a core idea is that everybody can act as a result of we outline “acting” as taking motion of their lives to struggle oppression. If that’s true, everybody can all, in some type, additionally turn out to be facilitators or educators, those that transfer themselves and their communities in the direction of areas and instruments that spark inventive options. Therefore, The Wildcard Workbook is a instrument for all of us to take steps past creating change in our communities and in the direction of turning into the sorts of leaders that may information others in the direction of solidarity-building and movement-building. This useful resource is about making this work sustainable and making ready for the following technology of artists and activists. It’s our means of passing the baton.