Art/ist in Vacuum ·

November 2024

Ethiopia, Addis Ababa

Applied theatre

short movie

1.0 Theoretical framework: Applied theatre without foundations

1.1Definition and importance of community and space in applied theatre**

Community and space are foundational elements in applied theatre because they provide the social and physical contexts in which the discipline thrives. Community forms the relational core of applied theatre, offering a collective of individuals whose shared experiences, challenges, and aspirations shape the themes and outcomes of the work (Nicholson, 2005). The space, whether a theatre, a classroom, a public square, or a digital platform, serves as the container for these interactions, grounding the practice in a tangible or symbolic site that enables engagement, ritual, and transformation (Schechner, 2013). Their absence fundamentally redefines the discipline by destabilising its traditional frameworks. Without a community, the practice risks losing its participatory ethos and becoming introspective or performative rather than transformative (Boal, 2000). Similarly, the lack of a defined space challenges the practitioner to reimagine theatre as occurring in fluid, transient, or virtual environments, shifting the focus from physical presence to imaginative, relational, or embodied spaces (Turner, 1982). This absence invites innovation but also poses ethical and practical questions about the inclusivity, impact, and sustainability of applied theatre when its foundational pillars are reconfigured or removed.


1.2 Alternative Theoretical Models

Augusto Boal’s Theatre of the Oppressed (2000) centres on the collective power of community as both the subject and agent of transformation. Boal’s methodology—tools like Forum Theatre and Image Theatre—depends on participants engaging in dialogic processes that reveal oppression and envision alternatives. These methods presume the presence of an active community to serve as both the audience and the "spect-actors." In a vacuum, where community is absent or fragmented, Boal’s practices must be reimagined. For instance, can a practitioner engage in these techniques as a solo reflective practice, or with transient individuals who do not form a cohesive group? The absence of a stable community challenges Boal's emphasis on collective agency, pushing the practitioner to redefine who the “oppressed” are and whether transformation can occur individually rather than communally. This reframing raises critical questions about the nature of empowerment and the sustainability of outcomes without the reinforcement of collective effort.

Similarly, Richard Schechner’s Performance Studies: An Introduction (2013) emphasises the significance of space and context in shaping performative acts. His concept of the "performance environment" underscores how physical, social, and cultural spaces influence meaning-making and audience engagement. Without a fixed or shared space, performance in a vacuum disrupts the semiotic richness that Schechner attributes to site and context. However, his work also provides avenues for reimagining space, including virtual environments, symbolic spaces, or the body itself as a site of performance. For instance, his exploration of “restored behaviour” suggests that even isolated performers can engage in embodied practices that draw on collective memory or cultural ritual, effectively creating a symbolic community or space through their actions.

Both Boal and Schechner’s theories remain relevant in a vacuum but require adaptation. Boal’s community-centred techniques could pivot to emphasise internalised processes of reflection and empowerment, while Schechner’s spatial frameworks could evolve to include digital and liminal spaces. These adaptations not only broaden the scope of applied theatre but also provoke new questions about its ethical and practical implications in contexts devoid of traditional anchors like community and space.