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Journal articles on the topic 'Prison theater'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Lucas, Ashley, Natalia Ribeiro Fiche, and Vicente Concilio. "We Move Forward Together: A Prison Theater Exchange Program Among Three Universities in the United States and Brazil." Prison Journal 99, no. 4_suppl (July 9, 2019): 84S—105S. http://dx.doi.org/10.1177/0032885519861061.

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In 2013, the Prison Creative Arts Project at the University of Michigan and Teatro na Prisão at the Universidade Federal do Estado do Rio de Janeiro began an international exchange of university-based prison theater programs. The theater faculty at the Universidade do Estado de Santa Catarina joined the exchange in 2016 and began a new prison theater program at a women’s facility in Florianópolis, Brazil. Together, these three universities not only share best practices and resources but form a community of support and understanding as they engage in a highly specialized and challenging creative process inside prisons.

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2

Xiaoye, Zhang. "Participatory Theater as Fieldwork in Chinese Prisons: A Research Note." Prison Journal 101, no. 6 (December 2021): 742–61. http://dx.doi.org/10.1177/00328855211060342.

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This methodological reflection is based on the author's own experience taking part in participatory theater projects in mainland Chinese prisons over the past 5 years. This article demonstrates how the author's participation in prison theater projects secured otherwise unattainable research access by forming collaborations with various organizations. Participatory theater workshops also offered the space for sustaining long-term rapport. This research note discusses why trusting relationships are the most important guarantee to obtaining valid data in Chinese prison research. The findings contribute to understanding methodological challenges and innovations of conducting fieldwork in criminal justice systems with no formal research access channels.

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3

Van Steen, Gonda Aline Hector. "Forgotten Theater, Theater of the Forgotten: Classical Tragedy on Modern Greek Prison Islands." Journal of Modern Greek Studies 23, no. 2 (2005): 335–95. http://dx.doi.org/10.1353/mgs.2005.0024.

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4

Prendergast, Monica. "anecdotal." Qualitative Inquiry 26, no. 6 (May 5, 2019): 674–76. http://dx.doi.org/10.1177/1077800419846642.

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A poem based on an encounter with an audience member by the author following a prison theater production that the author was in as a mentor actor working alongside male inmates. The poem was presented as part of a panel on Applied Theater and Change—that is, how are we to know that change has occurred as a result of an applied theater experience or performance—at the triennial International Drama in Education Research Institute, University of Auckland, New Zealand in July of 2018.

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5

Jenkins, Ron. "Dante, fatherhood, and starvation behind bars." Forum Italicum: A Journal of Italian Studies 55, no. 2 (June 18, 2021): 568–80. http://dx.doi.org/10.1177/00145858211022645.

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This article documents the responses of incarcerated men to Dante’s story of Ugolino in canto 33 of Inferno. Reading Dante’s poem in prison theater workshops the men are inspired to write about the ways in which their own children, like Ugolino’s, have suffered because of the incarceration of their father. Interweaving fragments of Dante’s text into their stories the incarcerated readers generate narratives that explore the multiple meanings of starvation. While Ugolino’s children die starving for food, the children of incarcerated fathers are starving for love, family, and community. Like the majority of men in American prisons the participants in these Dante theater workshops are people of color and their writing highlights the impact of mass incarceration on black and brown communities in America at the same time that it demonstrates the continuing relevance of Dante’s poem to readers confronting issues related to justice and its absence in the twenty-first century.

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6

Abad, Ricardo. "Bilibid Weeks: An Account of Prison Theater in the Philippines." Perspectives in the Arts and Humanities Asia 9, no. 2 (October 31, 2019): 29–53. http://dx.doi.org/10.13185/ap2019.09202.

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7

Bartnicka, Anna Joanna. "Margaret Atwood’s Hag-Seed: Dramatic Encounters between Classic and Adaptation, Life and Art, Freedom and Imprisonment." Roczniki Humanistyczne 69, no. 11 (December 8, 2021): 21–33. http://dx.doi.org/10.18290/rh216911-2.

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This paper examines Margaret Atwood’s novel Hag-Seed (2016) as a metatextual adaptation of Shakespeare’s literary classic The Tempest. The terms “adaptation” and “classic” are employed to explain the relation of Atwood’s work to its source material. The performance of The Tempest prepared by the characters of the novel that engages convicts is a form of multi-media interactive theater, and the classical text of the Shakespearean play is considered a form of “sacra” (Turner), which has educational and utilitarian purposes. Michel Foucault’s analysis of prison, his concept of “heterotopia”, and Victor Turner’s concept of “liminality” are introduced to discuss the convicts participating in a theatrical workshop as liminal individuals during the ritual of transition while in the heterotopian space of a prison.

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8

Sáez, Alejandra. "La actuación del derecho." Acta Poética 42, no. 2 (June 22, 2021): 47–76. http://dx.doi.org/10.19130/iifl.ap.2021.2.18123.

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Law, in its structure and from its first conformation, shares the same matrix with theater. Elements such as representation, spectacle, storytelling and actions are constitutive of both subjects, which makes law an eminently fictitious practice. This becomes evident in the case of Jorge Mateluna, former member of the patriotic front Manuel Rodriguez, who was arrested and sentenced to 16 years in prison for a crime he did not commit, a case denounced in the play Mateluna by Chilean playwright Guillermo Calderon, staging that, when compared to the legal case, reveals the theatrical and fictitious nature of law.

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9

Weegels, Julienne. "Undoing the “Cemetery of the Living”: Performing Change, Embodying Resistance through Prison Theater in Nicaragua." Revista Crítica de Ciências Sociais, no. 120 (December 1, 2019): 137160. http://dx.doi.org/10.4000/rccs.9770.

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10

Chmut, Darina, and Tetyana Mykhed. "Margaret Eleanor Atwood: the Prison Topos as the Main Path of her Novel “Hag-Seed”." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 61–71. http://dx.doi.org/10.17721/2663-6530.2021.39.06.

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The article is devoted to the analysis of M. Atwood’s novel “Hag-Seed”, which transfers the situation and issues of Shakespeare's "The Tempest" to the modern environment. The author literalizes the metaphorical meanings invested by the great bard, at the same time attaching her own metaphors to create a two-level text. An attempt is made to investigate the specifics of the author's use of the prison topos as a literary path to draw public attention to the existing problems of the penitentiary system, and to promulgate the role of theater in preparing convicted criminals to return to society and their successful integration. Atwood uses different types of imprisonment and restraint in her work, which correlates with Foucault's research in the field of control and supervision, as well as his heterotopology. Also, the emphasis on the psychological state of the hero makes it possible to consider the problem through the prism of D. Moran's theory of carceral space.

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Lucas. "When I Run in My Bare Feet: Music, Writing, and Theater in a North Carolina Women's Prison." American Music 31, no. 2 (2013): 134. http://dx.doi.org/10.5406/americanmusic.31.2.0134.

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12

Woźny, Karolina. "Czytelnictwo więźniów w Zakładzie Karnym w Rawiczu." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 199–223. http://dx.doi.org/10.19195/2300-7729.36.11.

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Readership of prisoners in the Rawicz prisonA prison library is an institution intended to provide convicts with access to literature, culture, and education. In Poland, the approach to functions of prisons and prison libraries changed with political system transformation. After 1989 the penology was modified from the repressive model to the rehabilitative one. Prisoners can participate in cultural events, such as theatre performances, book clubs and prison newspapers publishing. Such involvement should be based on well-equipped library supervised by aqualified librarian. The reality is different, but statistics of Central Statistical Office of Poland GUS reveal that prison libraries in Poland are constantly developing. The author of the work conducted the survey in the prison in Rawicz aimed at the exploration of prisoners’ readership. The analysis involved 50 individuals. According to the study’s results, convicts consider the library as anecessary institution, which they use willingly. Most of the respondents admitted that they read books, while almost all of them reported reading the press. The most popular literary genres among the surveyed turned out to be fantastic and detective stories.

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ROMANIUK, Mariia. "YEVHEN LYSYC’S SCENOGRAPHIC CODES IN “ROMEO AND JULIET” BALLET (SOLOMIYA KRUSHELNYTSKA LVIV STATE ACADEMIC THEATRE OF OPERA AND BALLET, 2014)." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 185–91. http://dx.doi.org/10.30970/vas.20.2019.10623.

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Relevance of the study. The relevance of this study is that for the first time in Ukrainian theater studies, a comprehensive analysis of the scenographic decision of “Romeo and Juliet” ballet by V. Shakespeare was performed on the stage of Solomiya Krushelnytska Lviv State Academic Theatre of Opera and Ballet in 2014 and an analysis of its ideological, content and stylistic features. The first and the second editions of stage design by Yevhen Lysyk were mentioned and compared for the ballet «Romeo and Juliet» by V. Shakespeare on stage of I. Franko Lviv State Academic Opera and Ballet Theater (first premiere – 19th of April 1968 and the second – 27th of December 1988). It also analyzed in detail the cross-section of the styles and ideas of the artist in the scenography to the revised edition of the ballet (2014) and deciphered scenographic codes in which the universal, cosmic world view of the master on the universe is recorded. Main objective(s) of the study. The purpose of the study is to analyze, compare and explore the three scenographic decisions and find out their common and distinctive features. Methodology. The following research methods have been used in this scientific work: historical, comparative, and hermeneutical. Through historical and comparative methods, we investigated the common and distinctive features of the scenography. Using the hermeneutic method, we were able to scrupulously analyze the main three scenographic codes laid down by Yevhen Lysyk in the scenography of the ballet «Romeo and Juliet» by V. Shakespeare. Results (how the study was done). Summarizing the above, we can conclude that the handwriting of artist Yevhen Lysyk is philosophical, courageous, modern and innovative. The artist refuses to be an observer and speaks to the viewer using allegory and symbolism. Especially these particularities were emphasized by the reviewers of the scenographer’s work literary critic Maria Vallo and musicologist and researcher in the history of the theater Oksana Palamarchuk. Significance for art. This publication helps to understand the contribution of the national Ukrainian painter Yevhen Lysyk in the field of scenographic art, revealing the artist’s handwriting and his outlook. Results/findings and conclusions. Consequently, the main results and conclusions of the study are the identification of the recurrent scenographic codes of Yevhen Lysyk. This is a conflict of worldviews and the Renaissance and Middle Ages; a stone prison that embodies hostility and strife between two families; faith, reaction to the cataclysms (canvas «Resurrection»); cosmogonic motives: sun, lakes, mountains, sky

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14

Senelick, Laurence. "Émigré Cabaret and the Re-invention of Russia." New Theatre Quarterly 35, no. 1 (January 16, 2019): 44–59. http://dx.doi.org/10.1017/s0266464x1800060x.

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Before the October Revolution, political exiles and Jewish refugees spread the image of Russia as a vast prison, riven by violence and corruption. After the Revolution, émigrés who scattered across the globe broadcast their idea of a fabulous, high-spirited Russia. Cabaret – an arena for theatrical innovation, stylistic experimentation, and avant-garde audacity – was a choice medium to dramatize this idea to non-Russian audiences. Throughout the 1920s, émigré cabarets enjoyed great popularity: Nikita Baliev's Chauve- Souris in New York, Jurij Jushnij's Die Blaue Vogel in Berlin, J. Son's Maschere in Italy, among others. Although the acts were polyglot and the compère pattered away in a pidgin version of whichever language was current, the chief attraction was an artificial Russian - ness. Cabarets promulgated a vision of a fairy-tale, toy-box Russia, akin to the pictures on Palekh boxes. This candy-box depiction was then perpetuated by nightclubs staffed by waiters in Cossack blouses and balalaika orchestras. Nostalgic regret for a factitious homeland deepened among the departed. In contrast, Soviet Russia came to look even more hostile and desolate. With time, the distance between the lives they had lived and those portrayed to foreigners increased, and became unmoored from reality. Laurence Senelick's most recent books include Soviet Theater: a Documentary History (2014, with Sergei Ostrovsky), the second, enlarged edition of A Historical Dictionary of Russian Theatre (2015), and Jacques Offenbach and the Making of Modern Culture (Cambridge University Press, 2017).

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15

McPhee, Molly. "The Letter Cloth: Sensory Modes of the Epistolary in Prison Theatre Practice." Humanities 12, no. 6 (November 28, 2023): 139. http://dx.doi.org/10.3390/h12060139.

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In this article, I explore performances of letter writing within the archives of the London-based theatre company Clean Break, who work with justice-experienced women and women at risk. Clean Break’s archive at the Bishopsgate Institute in London contains an extensive collection of production ephemera and letters. Charting the company’s development across forty years of theatre productions, public advocacy, and work in prisons and community settings, these materials of the archive—strategic documents, annotated playscripts and rehearsal notes, production photography and correspondence—reveal the acute importance of the letter to people living on the immediate borderlands of the prison. Despite these generative resonances, however, the epistolary form is very rarely used in Clean Break’s theatre: as the archive reveals, since the company was founded by two women in HM Prison Askham Grange in 1979, stagings of letters have occurred in only a handful of instances. In this archival exploration of the epistolary in three works by Clean Break—a film broadcast by the BBC, a play staged at the Royal Court, and a circular chain-play written by women in three prisons—I investigate what lifeworlds beyond prison epistolary forms in performance propose.

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16

Rodriguez Vega, Silvia. "Praxis of Resilience & Resistance: “We can STOP Donald Trump” and Other Messages from Immigrant Children." Association of Mexican American Educators Journal 12, no. 3 (December 18, 2018): 122. http://dx.doi.org/10.24974/amae.12.3.409.

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In 2018 there have been constant anti-immigrant rhetoric, policies, and enforcement. Most recently, Trump referred to immigrant children as “future criminals” who needed to be kept in prison-like detention centers and “tender age facilities” (Min Kim, 2018). Meanwhile, the 4.5 million children of immigrants already in the US continue to face possibilities of family separation due to this enforcement-focused political system (Suárez-Orozco et al., 2015). The goal of this article is to provide insight into the lives of one of the most vulnerable and fastest growing populations in the U.S.—immigrant children. As a researcher and educator, I developed an art-centered methodological and pedagogical tool that can serve those working with immigrant children and vulnerable populations. Over a two-year period, I used artistic tools such as drawings, storyboards, Teatro Campesino’s actos, and various techniques from Theater of the Oppressed (Boal, 2000) to work with children of immigrants in a sixth-grade class of English Language Learners (ELL) in Los Angeles. Through educational, artistic, and anecdotal components of their work, these children created a world where they could resist and fight Trump and share that victory by utilizing the transformative imaginary of art.

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Novikova, Liudmila. "Criminalized Liaisons: Soviet Women and Allied Sailors in Wartime Arkhangel’sk." Journal of Contemporary History 55, no. 4 (April 27, 2020): 745–63. http://dx.doi.org/10.1177/0022009419899149.

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From 1941 to 1945 thousands of British and American sailors came to the northern Soviet ports of Arkhangel’sk and Molotovsk with Lend-Lease convoys. On the shore they made many casual contacts with local residents, in particular with Soviet women. These contacts came under close scrutiny of the Soviet authorities who tried to limit the alleged subversive influence of foreign nationals on Soviet citizens. Local women who dated Allied personnel faced harassment and repression that ranged from administrative exile to imprisonment in the Gulag. Resentments against women who had intimate relationships with foreigners during the war were widespread throughout the European theater, and not limited to the USSR. Still the Soviet authorities’ treatment of Arkhangel’sk women who dated nationals of ‘friendly’ countries was particularly harsh. They faced not just moral condemnation, but legal prosecution and long prison terms. The severity of their repression is comparable to how the Soviet side treated civilian Nazi collaborators. Ultimately, Soviet reactions to such wartime contacts with Allied nationals shed light on the broader social history of the Soviet home front, inter-Allied relationships on a grassroots level, and Soviet wartime and postwar justice that was arbitrary in nature and largely defined by local initiatives.

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Campbell, Michael, Heather Schoenfeld, and Paige Vaughn. "Same old song and dance? An analysis of legislative activity in a period of penal reform." Punishment & Society 22, no. 4 (December 15, 2019): 389–412. http://dx.doi.org/10.1177/1462474519887945.

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After years of tough-on-crime politics and increasingly punitive sentencing in the United States, economic, political, and social shifts in the 21st century have created new opportunities for opponents of the penal status quo. By 2013, a majority of states had enacted some type of reform aimed at reducing prison populations. An emerging body of punishment and society scholarship seeks to understand the possibilities and characteristics of reform efforts by examining enacted state legislation. In this article, we use a unique data set of all proposed and passed bills in three legislative sessions in New Jersey between 2001 and 2013 to provide a nuanced empirical account of change and continuity in penal logics in the period of reform. Even when not enacted, proposed legislation shapes the penal field by introducing new ideas that are later incorporated into rhetoric, policy, or practice. Proposed bills that never become law can also alter the political calculus for reformers or their opponents. Our findings demonstrate that by expanding our universe of data, we gain insight into characteristics of “late mass incarceration” that we might otherwise miss. In particular, while we find evidence of decarceration and bifurcation logics, our analysis also demonstrates that state lawmakers continue to participate in “crime control theater” and reproduce the same punitive penal logics that helped build the carceral state.

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Bergeron, David M. "Ben Jonson's Patron, Esmé Stuart." Ben Jonson Journal 31, no. 1 (May 2024): 1–29. http://dx.doi.org/10.3366/bjj.2024.0359.

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The entry for Esmé Stuart, brother of Ludovic, Duke of Lennox, in the Oxford Dictionary of National Biography occupies a mere two paragraphs. But who was this person who served James I from 1603 until his death in 1624? This article argues for Esmé's importance and produces evidence to support the claim, beginning with his becoming a Gentleman of the Bedchamber and member of the Privy Council in 1603. Later that year the king granted Esmé a license to export 6,000 tons of “double beer.” This marks just the beginning of the king's exceptional largesse. More grants and privileges flowed Esmé's way, including the title of Earl of March in 1619. Esmé's involvement with the arts, especially drama, has largely been ignored; but he served as patron, performer, and protector of dramatists. He formed his own acting company, he danced in court masques, and he helped dramatists get out of prison. Esmé had a special relationship with Ben Jonson. For five years Jonson even lived in Esmé's household in Blackfriars. He gratefully acknowledged such generosity, claiming in Epigram 127 that Esmé had given him “new life.” In poetry and in the dedication to Sejanus (1616), Jonson cited Esmé's influence and hospitality. This article creates the first full portrait of Esmé: his personal and court life and his interest and participation in the theater.

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علي حسين حاجي, حسين. "جماليات التلقى بين المسرح وفنون الشاشة "سجن النساء" نموذجًا The aesthetics of the reception between the theater and screen arts "Women's Prison" is a model." مجلة کلية الآداب . جامعة الإسکندرية 94, no. 94 (October 1, 2018): 1–20. http://dx.doi.org/10.21608/bfalex.2018.151315.

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حاجي, حسين. "جماليات التلقي بين المسرح وفنون الشاشة "سجن النساء" نموذجًا The aesthetics of the reception between the theater and screen arts "Women's Prison" is a model." مجلة کلية الآداب . جامعة الإسکندرية 88, no. 88 (April 1, 2017): 1–50. http://dx.doi.org/10.21608/bfalex.2017.154990.

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Kovács, Mihály. "A művészet és a hit kapcsolódási lehetőségei büntetés-végrehajtási keretek között." Belügyi Szemle 72, no. 3 (April 3, 2024): 431–47. http://dx.doi.org/10.38146/bsz-ajia.2024.v72.i3.pp431-447.

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Aim: The penitentiary organisation gives an important role to drama education, prison theatre and the combination of religion and faith with art therapy programmes in order to combat the harms of forced detention in prisons and to reintegrate prisoners into society. The aim of this study is to present the progress made in implementing the above and the art therapy programmes planned for 2024.Methodology: As a practising prison specialist and head of the Incarceration Affairs Service of the Hungarian Prison Service Headquarters, the author has an insight into the range of art therapy programmes offered to prisoners and their practical implementation. During his career, he has been involved in the creation and implementation of several such programmes, both as an implementer and as a supervisor. In preparing this study, he has drawn on his personal experience as well as on the available literature on the subject.Findings: The prison population is very open to different kinds of artistic programmes, and they actively and creatively participate in their implementation. Drama-based theatre programmes, combined with elements of religion and faith, can be clearly integrated into the range of programmes to prepare prisoners for release, sometimes with elements of reparation.Value: Art programmes in prison environments not only help prisoners to reintegrate after release, develop their personality, skills and competences, but are also suitable for sensitising society and reducing prejudices and antipathy towards prisoners.

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Benelli, Caterina. "IL TEATRO COME STRUMENTO FORMATIVO IN CARCERE." Revista Internacional de Culturas y Literaturas 19, no. 19 (2016): 208–16. http://dx.doi.org/10.12795/ricl.2016.i19.17.

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24

Foot, John. "The tale of San Vittore: prisons, politics, crime and Fascism in Milan, 1943–1946." Modern Italy 3, no. 01 (May 1998): 25–48. http://dx.doi.org/10.1080/13532949808454790.

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Summary The prison system under Fascism was used to house both common and political prisoners. After 25 July 1943, the prisons were opened, only to be closed once again in occupied Italy as the Nazis took over the system. San Vittore prison in Milan was theatre to a series of changes over the period from 1943 to 1946, culminating in the famous riots of April 1946. This article analyses the changes in the prison system, the mix of prisoners inside the institution and the continuation of the civil war inside San Vittore after liberation. This micro-focus allows reflections on a number of key issues regarding the post-war state: legitimacy, legality, repression and amnesty. The post-liberation regime's failure to keep order both inside and outside of the prison system was a key test of its legitimacy among those who had gone along with Fascism and were worried about what was to come: The article centres on the extraordinary and contested events surrounding the ‘revolt’ of 1946 in San Vittore and argues that accounts thus far provided are neither accurate nor particularly insightful about this key post-war moment. The amnesty of 1946, so long attributed to Togliatti's personal sense of responsibility was, in reality, forced upon the justice minister by the chaos in the prisons right across the peninsula.

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Woodland, Sarah. "A Review of Two Conferences: The Head and the Heart of Arts in Prisons." Art/Research International: A Transdisciplinary Journal 3, no. 2 (September 15, 2018): 364–72. http://dx.doi.org/10.18432/ari29412.

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This is a comparative review of two conferences held in North America in March of 2018. Carceral Cultures was presented by the Canadian Association of Cultural Studies at Simon Fraser University, Vancouver, from March 1-4. The purpose of the conference was to bring together cultural theorists, practitioners and activists to contemplate the carceral. The Shakespeare in Prisons Conference was presented by the Shakespeare in Prisons Network at the Old Globe Theatre in San Diego, from March 22-25. The focus of this conference was to bring together artists and theorists who work in the field of arts in corrections, not limited to the works of the Bard. As a sometime practitioner-researcher of Prison Theatre I have found it interesting to compare the two conferences in terms of how each appealed to my head (cognition), and to my heart (affect), in engaging with the politics and aesthetics of arts in prisons. The conferences were divergent in so many ways, and yet now converge in my mind to deepen my understanding of the work that I do, and strengthen my resolve to continue resisting the broken (in)justice system through art-research-activism.

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Davey, Linda. "Theatre & Prison." Contemporary Theatre Review 23, no. 2 (May 2013): 242–43. http://dx.doi.org/10.1080/10486801.2012.722803.

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Freebody, Kelly. "Ashley E. Lucas, Prison Theatre and the Global Crisis of Incarceration." Modern Drama 65, no. 2 (June 1, 2022): 258–61. http://dx.doi.org/10.3138/md-65-2-br5.

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Ashley E. Lucas’s Prison Theatre and the Global Crisis of Incarceration offers a view of prison theatre that is critical, celebratory, and well researched. Personal stories, historical analysis, and explorations of practice are skilfully interwoven throughout to provide readers with a rich perspective on the global field of prison theatre.

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Keating, Suraya Susana, Lynn Baker-Nauman, and Marianne Shine. "The healing art of performing and witnessing Shakespeare: Transferring drama therapy skills to the theatre classroom inside prison and beyond." Drama Therapy Review 8, no. 1 (April 1, 2022): 59–78. http://dx.doi.org/10.1386/dtr_00093_1.

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This article analyses a structured approach to facilitating Shakespeare groups in prison that interweaves a trauma-informed lens with four critical principles developed by Marin Shakespeare Company. The CREW principles are (1) Connection, (2) Reflection, (3) Expression and (4) Witnessing. We describe the work we have been doing for sixteen years with Marin Shakespeare Company facilitating Shakespeare classes and performances in various California prisons with incarcerated men, women and trans-women. Throughout the article, a blend of theory, guiding quotes and case examples from participants is used to demonstrate how the study and performance of Shakespeare in prison, when rooted in a trauma-informed lens and supported by the four principles mentioned above, is helpful in healing trauma and fostering social and emotional well-being amongst individuals who are incarcerated.

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Shailor, Jonathan. "Theatre of Empowerment." Drama Therapy Review 8, no. 1 (April 1, 2022): 45–58. http://dx.doi.org/10.1386/dtr_00092_1.

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This article is an updated assessment of ‘The Shakespeare Prison Project’ (SPP, Wisconsin), informed in part by post-COVID-19 reflections. Founder and artistic director Jonathan Shailor provides an exploration of the theory and practice that informs his work, which he calls the Theatre of Empowerment: storytelling, dialogue and performance, in the service of personal and social evolution. The key to understanding this work is seeing the prison theatre ensemble as a ‘community of practice’ that cultivates the virtues of individual empowerment, relational responsibility and moral imagination. The author tests these claims with a preliminary analysis of participants’ stories and draws conclusions from this analysis that will inform the next chapter of ‘The Shakespeare Prison Project’: Shakespeare’s Mirror, an approach that connects themes from Shakespeare’s plays with the personal narratives of incarcerated actors.

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Woodland, Sarah. "Prison Theatre and an Embodied Aesthetics of Liberation: Exploring the Potentials and Limits." Humanities 10, no. 3 (September 9, 2021): 101. http://dx.doi.org/10.3390/h10030101.

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Prison theatre practitioners and scholars often describe the sense of imaginative freedom or “escape” that theatre and drama can facilitate for incarcerated actors, in contrast to the strict regimes of the institution. Despite this, the concept of freedom or liberation is rarely interrogated, being presented instead as a given—a natural by-product of creative practice. Drawing from John Dewey’s (1934) pragmatist aesthetics and the liberatory pedagogies of Bell Hooks (2000) and Paulo Freire (1996), I propose an embodied aesthetics of liberation in prison theatre that adds depth and complexity to claims for freedom through creativity. Reflecting on over twenty years of prison theatre practice and research, I propose that the initial “acts of escape” performed through engaging the imagination are merely the first threshold toward more meaningful forms of freedom. I frame these as the following three intersecting domains: “Acts of unbinding”, which represents the personal liberation afforded by experiences with theatre in prison; “acts of love”, which expresses how the theatre ensemble might represent a “beloved community” (hooks); and “acts of liberation”, which articulates how these experiences of self-and-world creation may ripple out to impact audiences and communities. An aesthetics of liberation in prison theatre can, therefore, be conceived as an embodied movement towards personal and social renewal; an approach that deepens our understanding of its oft-cited humanising potential, and its limits.

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Tatsumi, Hijikata. "To Prison." TDR/The Drama Review 44, no. 1 (March 2000): 43–48. http://dx.doi.org/10.1162/10542040051058843.

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For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.

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Nako, Nontsasa. "On the record with Judge Jody Kollapen." South African Crime Quarterly, no. 66 (April 18, 2019): 53–56. http://dx.doi.org/10.17159/2413-3108/2018/v0n66a6242.

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With the revelations by Bosasa officials at the State Capture Enquiry, held in early 2019, laying bare the corrupt links between prisons, detention centres and border control, and high ranking political and government officials, the time is ripe to excavate the capitalist interests that fuel incarceration in this country. How did the prison industrial complex overtake the lofty principles that ushered in the South African democratic era? Judge Jody Kollapen is well-placed to speak to about the evolution of the South African prison from a colonial institute that served to criminalise and dominate 'natives', to its utility as instrument of state repression under apartheid, to its present manifestation in the democratic era. He has laboured at the coalface of apartheid crime and punishment through his work as an attorney in the Delmas Treason Trial, and for the Sharpeville Six, and also worked as a member of Lawyers for Human Rights, where he coordinated the 'Release Political Prisoners' programme, Importantly, Justice Kollapen had a ringside seat at the theatre of our transition from apartheid to democracy as he was part of the selection panel that chose the commissioners for the Truth and Reconciliation Commission (TRC). Many questions can be asked of the South African TRC including whether it was the best mechanism to deal with the past and whether it achieved reconciliation. What concerns us here is its impact on crime and punishment in the democratic era. If our transition was premised on restorative justice, then shouldn’t that be the guiding principle for the emerging democratic state? In line with this special edition’s focus on the impact of incarceration on the marginalized and vulnerable, Judge Kollapen shares some insights on how the prison has fared in democratic South Africa, and how imprisonment affects communities across the country. As an Acting Judge in the Constitutional Court, a practitioner with a long history of civic engagement, and someone who has thought and written about criminalization, human rights and prisons, Judge Kollapen helps us to think about what decolonization entails for prisons in South Africa.

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33

Nako, Nontsasa. "On the record with Judge Jody Kollapen." South African Crime Quarterly, no. 66 (April 18, 2019): 53–56. http://dx.doi.org/10.17159/2413-3108/2018/i66a6242.

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With the revelations by Bosasa officials at the State Capture Enquiry, held in early 2019, laying bare the corrupt links between prisons, detention centres and border control, and high ranking political and government officials, the time is ripe to excavate the capitalist interests that fuel incarceration in this country. How did the prison industrial complex overtake the lofty principles that ushered in the South African democratic era? Judge Jody Kollapen is well-placed to speak to about the evolution of the South African prison from a colonial institute that served to criminalise and dominate 'natives', to its utility as instrument of state repression under apartheid, to its present manifestation in the democratic era. He has laboured at the coalface of apartheid crime and punishment through his work as an attorney in the Delmas Treason Trial, and for the Sharpeville Six, and also worked as a member of Lawyers for Human Rights, where he coordinated the 'Release Political Prisoners' programme, Importantly, Justice Kollapen had a ringside seat at the theatre of our transition from apartheid to democracy as he was part of the selection panel that chose the commissioners for the Truth and Reconciliation Commission (TRC). Many questions can be asked of the South African TRC including whether it was the best mechanism to deal with the past and whether it achieved reconciliation. What concerns us here is its impact on crime and punishment in the democratic era. If our transition was premised on restorative justice, then shouldn’t that be the guiding principle for the emerging democratic state? In line with this special edition’s focus on the impact of incarceration on the marginalized and vulnerable, Judge Kollapen shares some insights on how the prison has fared in democratic South Africa, and how imprisonment affects communities across the country. As an Acting Judge in the Constitutional Court, a practitioner with a long history of civic engagement, and someone who has thought and written about criminalization, human rights and prisons, Judge Kollapen helps us to think about what decolonization entails for prisons in South Africa.

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34

Ruding, Simon. "Performing new lives: prison theatre." Research in Drama Education: The Journal of Applied Theatre and Performance 17, no. 1 (February 2012): 140–43. http://dx.doi.org/10.1080/13569783.2012.649021.

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35

Moritz, Charlie. "Book Review: Theatre in Prison." Dramatherapy 27, no. 1 (March 2005): 27. http://dx.doi.org/10.1080/02630672.2005.9689647.

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36

Peterson, Linda W. "Prison theatre: Practices and perspectives." Journal of Clinical Forensic Medicine 5, no. 4 (December 1998): 219. http://dx.doi.org/10.1016/s1353-1131(98)90161-4.

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37

MOVCHUN, Larysa. "STRUCTURE AND DYNAMICS OF THE RHYME FIELD “CITY”." Culture of the Word, no. 94 (2021): 120–29. http://dx.doi.org/10.37919/0201-419x-2021.94.10.

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The article is devoted to the study of the structure of the rhyme field CITY. Its microfields are outlined and their lexical composition is analyzed. It was revealed that the microfields are clearly formed via “urban space” (“structure of space”, “urbanonyms”), “buildings and institutions”, “objects and materials”, “transport”. “Structure of space” contains words: avenue, alley, boulevard, street, square, park, suburb, avenue, market, garden, square etc. Rhymes with the component “street” predominate, the combination of this rhyme with verbs is typical. There is a strong associative connection, on the one hand, between the word square and, on the other hand, rain and rinse; it is a kind of landscape sketch, visual and sound image of the city. Among the components of rhyme – urbanonyms, we single out the names of material monuments of history, temples, places of worship, streets, squares, historic sites, modern neighborhoods and massifs. “Buildings and institutions” is a fairly wide group of nouns: academy, pharmacy, bar, library, railway station, garage, hotel, kindergarten, factory, coffee shop, casino, cafe, cafeteria, cinema, club, bookstore, office, shop, hospital, pawnshop, museum, pub, post office, railway station, restaurant, sex shop, cathedral, supermarket, theater, prison, philharmonic, skyscraper etc. Rhyme with a component “factory” marks Soviet era. Popular urban rhymes are combinations with the word “station”, in particular the cliché further (adj.) – at the station. In the microfield “Urban objects and materials” the most attractive for rhyme comprehension is the word “light”. Often used in the rhyme position, the word “pavement” creates a sound image of a hollow road. Of all the names of modes of transport, the word “tram” is the most popular. This rhyming component, associated with the unchanging attribute of life in the city, has not lost its poetic relevance over the centuries. It is concluded that the processes of urbanization actualize the “urban” rhyme both for the creators themselves and for researchers of the language of modern poetry.

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Heritage, Paul. "Taking Hostages: Staging Human Rights." TDR/The Drama Review 48, no. 3 (September 2004): 96–106. http://dx.doi.org/10.1162/1054204041667695.

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39

Amine, Khalid. "After the ‘Years of Lead’ in Morocco: Performing the Memory." New Theatre Quarterly 32, no. 2 (April 13, 2016): 121–41. http://dx.doi.org/10.1017/s0266464x16000038.

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During the so-called ‘Years of Lead’ in Morocco (1956–1999), state-sponsored violence was embedded not only in assaults on the bodies of victims, but also in their affective and psychological well-being. This occurred to such an extent that many attempts at the narrativization of violence via testimonials and prison memoirs fail to convey the trauma experienced in Moroccan secret prisons. In the present article Khalid Amine is concerned with the fragility of testimony as a performative act, in which the obligation of voicing pain and trauma is in tension with the impossibility of its telling. After the hearing sessions organized by the Moroccan Equity and Reconciliation Commission (ERC) in 2004, another narrative turn has emerged in Moroccan theatre and in other artistic forms whereby reenactments of prison memoirs, testimonials, and other registers of repressed personal archives are employed onstage as a means of breaching the walls between the personal and political. Khalid Amine is Professor of Performance Studies, Faculty of Letters and Humanities at Abdelmalek Essaadi University, Tetouan, Morocco. He is co-author with Marvin Carlson of The Theatres of Morocco, Algeria, and Tunisia: Performance Traditions of the Maghreb (2012).

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Balfour, Michael. "Mapping Realities: Representing War through Affective Place Making." New Theatre Quarterly 28, no. 1 (January 31, 2012): 30–40. http://dx.doi.org/10.1017/s0266464x12000036.

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One of the most unusual statistics in the study of performance and war is that aesthetic activity often increases in times of conflict. In this article Michael Balfour extends the consideration of performance and war to aesthetic projects that were located far removed from the centres of conflict, but that deeply connected with the affective impact of war. As an illustration of performative practice, the examples demonstrate the ways in which place making can play with documenting and representing war experiences in different ways. The two examples – This is Camp X-Ray in Manchester (a temporary installation) and the Vietnam Veterans Memorial in Washington DC – were designed in separate contexts for very different purposes; but contribute to understanding the kinds of choices that artists make in representing the affective ‘truths’ of war experience. In both cases, the artists were interested in creating spaces that would make the wars more visible for an audience, and provide a tangible place in which experiences of war could be re-conceived and an affective connection made. Michael Balfour is Professor of Applied Theatre, Griffith University, Brisbane, Australia. His research expertise is in the social applications of theatre, in particular theatre and war, prison theatre, and arts and health. Major Australian Research Council-funded projects include The Difficult Return, on approaches to artsbased work with returning military personnel, and Captive Audiences, on the impact of performing arts programmes in prisons. His books include Theatre and War 1933–1945 and, most recently, Performance in Place of War, co-authored with James Thompson and Jenny Hughes (Seagull Press, 2010).

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Krizhanskaya, Daria, Natalia Kuziakina, and Boris M. Meerovich. "Theatre in the Solovki Prison Camp." Russian Review 56, no. 4 (October 1997): 596. http://dx.doi.org/10.2307/131574.

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42

Mally, Lynn, Natalia Kuziakina, and Boris M. Meerovich. "Theatre in the Solovki Prison Camp." Slavic and East European Journal 41, no. 2 (1997): 379. http://dx.doi.org/10.2307/309764.

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43

Pankin, Arkady, Semen Ivanov, Natalia Shagaeva, Ervena Kalykova, and Eduard Sokalskiy. "Spiritual and moral training of the future kindergarten teacher in a teacher training college." E3S Web of Conferences 210 (2020): 18064. http://dx.doi.org/10.1051/e3sconf/202021018064.

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The article reveals the problems of spiritual and moral education of students of a pedagogical college located in a small city of Russia, Vilyuisk (Republic of Sakha (Yakutia). This settlement is very remote from the republican center (situated in the subarctic belt) with its rich historical past, originality and other unique characteristics. Initially, Vilyuisk was founded as a prison - a place of exile for the Decembrists, revolutionaries - Poles, Social Democrats, Bolsheviks, Socialist-Revolutionaries and others (M.I. Muravyev-Apostol, P.F. Duntsov - Vygodsky, N.G. Chernyshevsky whom the teacher's college is named after, etc.). The rich heritage of the past multiplied by the present acts as a powerful stimulant in the training of the students of the Vilyuisk Pedagogical College named after N.G. Chernyshevsky for future professional activities. In this context the extraordinary potential of museum pedagogy in the training of future specialists for preschool institutions is described. For these purposes after experimental testing a multifunctional educational platform has been created on the basis of the museum of the Vilyuisk Pedagogical College named after N.G. Chernyshevsky and it has been functioning. It works effectively as a purposefully organized socio-cultural environment influencing the stimulation of the creative interests of the students, enrichment of spiritual and moral concepts and it successfully functions as an open cultural and educational environment for professional and pedagogical activities, self-development of the students. In this context a special role belongs to the laboratories: development of children's environment, "We Draw Everything", music for everyone, theater for everyone, protection of historical and cultural monuments, pedagogical researches. The students of the experimental group in addition to the general training program for specialists have attended a course of extracurricular activities on the basis of the multifunctional educational platform. The stages of the formation of the spiritual and moral qualities of the students have been diagnosed and described. As a result, the features of the dynamics of the development of spiritual and moral culture of the students of the control and experimental groups have been revealed. The innovative experience of the Vilyuisk Pedagogical College can be extended to other regions of the Russian Federation.

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44

Choe, Jung-sun. "The Illusion and Reconstruction of Orientalism in M. Butterfly." Convergence English Language & Literature Association 7, no. 3 (December 31, 2022): 327–51. http://dx.doi.org/10.55986/cell.2022.7.3.327.

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David Henry Hwang, a Chinese American writer active in the late 20th century, worked with an interest in Asian-American race issues. One of the important aspects raised by Asian American writers of the time, including Hwang, was to challenge the ‘typicality’ of Asians, which had been created and sustained by western media such as literature, movies, and theater during the 19th and 20th centuries. Published in 1988, M. Butterfly is based on a true story that is both shocking and moving about the clash of east and west cultures. Hwang wrote this work after reading an article in The New York Times on May 11, 1986 about a spy crime involving a French diplomat. This article was about Bernard Boursicot, a former French diplomat in Beijing who was sentenced for stealing French state secrets to the Chinese government, and Shi Pei-Pu, an actor of the Beijing Opera Company. Interesting about this article was that Shi was a male actor who played a female role professionally, and the diplomat Boursicot claimed that he had no idea that he was a spy or not a woman, even though he had been in love with Shi for 20 years. After reading the article, Hwang concludes that Boursicot must have fallen in love with a typical type of fantasy, not with an individual. Through this assumption, Hwang connects a westerner who is in the illusion of ‘Butterfly’ with Giacomo Puccini's opera Madame Butterfly(1914) and creates M. Butterfly. This drama begins with a scene in which the main character, Rene Gallimard, recalls his love for Song Liling, a Chinese Beijing opera actor, in a French prison. Song, a spy, instills his presence to Gallimard as a fantastic and typical image of an Asian woman in order to achieve his political purpose. In the end, Gallimard ends his life by learning the truth that his lover was a spy and even a man. This drama dismantles each thick layer of imperialist cultural and sexual bias. Furthermore it appeals to have a sincere relationship with each other for mutual welfare on an equal basis shared by everyone as a human being. This paper will examine the author's work of rewriting, focusing on the psychology of Gallimard.

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45

Filewod, Alan. "The Interactive Documentary in Canada: Catalyst Theatre's Its About Time." Theatre Research in Canada 6, no. 2 (January 1985): 133–47. http://dx.doi.org/10.3138/tric.6.2.133.

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Catalyst Theatre's 1982 production of It's About Time, an interactive performance for prison inmates, was a major development in political theatre in English Canada. In its theatrical techniques, the play resembled the 'theatre forum' of the Brazilian director Augusto Boal, but Catalyst's form of interventionist theatre developed independently of parallel forms elsewhere. An analysis of It's About Time compares Catalyst's techniques with Boal's more well-known model of interactive political theatre.

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46

Fesette, Nicholas, Bruce Levitt, and Jayme Kilburn. "Prison theatre and the right to look." Research in Drama Education: The Journal of Applied Theatre and Performance 26, no. 3 (July 3, 2021): 461–76. http://dx.doi.org/10.1080/13569783.2021.1938989.

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47

Moller, Lorraine F. "Theatre in Prison: Theory and Practice (review)." Modern Drama 48, no. 4 (2005): 864–66. http://dx.doi.org/10.1353/mdr.2006.0033.

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48

Carder, Macaela M. "Theatre in Prison: Theory and Practice (review)." Theatre Journal 59, no. 1 (2007): 155–56. http://dx.doi.org/10.1353/tj.2007.0044.

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49

Prendergast, Fay. "Book Review: Prison Theatre: Perspectives and Practices." Dramatherapy 20, no. 3 (December 1998): 34. http://dx.doi.org/10.1080/02630672.1998-1999.9689497.

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Jennings, Sue Emmy. "The Traveller: Healing Theatre in Magilligan Prison." Dramatherapy 21, no. 2 (October 1999): 3–6. http://dx.doi.org/10.1080/02630672.1999.9689512.

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