Mobile Arts for Peace (MAP)

MobileArtsforPeace(MAP)

DrAnandaBreed

MobileArtsforPeace(MAP)1

TableofContents

SECTIONI–IntroductiontoDCTMethodologyandFacilitation.......................................6

Chapter1–AboutthisManual......................................................................................................6

Chapter2-AboutDCTandInteractiveTheaterMethodology.......................................8

Chapter3-RecommendationsforFacilitatorsandCampOrganizers....................11

Chapter4-Facilitation...................................................................................................................18

Chapter5-WorkshopCurriculumStructure......................................................................24

SECTIONII–DCTActivitiesandTheaterTechniques..........................................................27

Chapter6-Warm-upActivities..................................................................................................28

AmplificationCircle.....................................................................................................................28

BlindCars.........................................................................................................................................29

CircleDash.......................................................................................................................................30

Devampiah.......................................................................................................................................31

EmptyChairIntroduction........................................................................................................33

FaintingbyNumbers..................................................................................................................34

ForestofSounds...........................................................................................................................35

GoodMorning.................................................................................................................................36

Lemonade.........................................................................................................................................37

NameGame.....................................................................................................................................38

ParticipantWelcomeExchange.............................................................................................40

SayingaWord................................................................................................................................42

Sounder/Mover.............................................................................................................................44

Space...................................................................................................................................................45

SpitfireCannon..............................................................................................................................47

Yes,Let’s!..........................................................................................................................................48

Chapter7-Lead-inActivities......................................................................................................49


AcrosstheRoom...........................................................................................................................49

BigWindBlows.............................................................................................................................51

CharacterWalk..............................................................................................................................53

Dr.Tangles.......................................................................................................................................54

Elephant/Tree/Boat...................................................................................................................55

ExpertandTranslator................................................................................................................57

Freeze!...............................................................................................................................................58

IWant.................................................................................................................................................60

InterrogationActivity.................................................................................................................61

Kabish/Kaboo................................................................................................................................62

Machine.............................................................................................................................................64

MusicalDialogue...........................................................................................................................65

“No,youdidn’t”..............................................................................................................................67

Sculptor/Clay.................................................................................................................................68

Spectrogram....................................................................................................................................69

Whatareyoudoing?...................................................................................................................71

Chapter8-MainActivities............................................................................................................72

CommediaDellArteCharacters............................................................................................72

DirectorSculpt...............................................................................................................................76

EmotionCircle...............................................................................................................................78

FluidSculpture..............................................................................................................................79

ForumTheater...............................................................................................................................81

MonologueWork..........................................................................................................................88

ObstacleTree..................................................................................................................................91

PuppetMaster................................................................................................................................93

RegionalShare...............................................................................................................................95

ThreeImageStory........................................................................................................................96

LegendSkit......................................................................................................................................98


Chapter9-EnergizerActivities..............................................................................................100

BallToss.........................................................................................................................................100

ShakeOut......................................................................................................................................101

ShipDeck.......................................................................................................................................102

SingingTag...................................................................................................................................103

Tiger/Tree....................................................................................................................................105

Chapter10-ClosingActivities.................................................................................................106

CriticalResponse/Feedback................................................................................................106

GraffitiWall..................................................................................................................................108

RoleontheWall.........................................................................................................................109

StewPot.........................................................................................................................................111

TalkingStick.................................................................................................................................112

TheatricalEvaluation..............................................................................................................113

SECTIONIII-TrainingandSustainability...............................................................................115

Chapter11–TeachingDCTTrainingandFacilitationSkills.....................................115

IntroductionofMethodology...............................................................................................115

ManualReview...........................................................................................................................117

GroupDynamics.........................................................................................................................118

Facilitation....................................................................................................................................120

IntroductiontoLeadership...................................................................................................122

PlanningTrainer-LedActivities.........................................................................................124

Participant-ledInteractiveGames....................................................................................125

Mini-Workshops........................................................................................................................126

Chapter11-BuildingSustainability:ApplyingDCTintheCommunity..............128

LookingAhead:HowtoUseMaterialsinSchoolsorCommunities(GuestSpeaker).........................................................................................................................................128

MakingitYourOwn:AdaptingtoRegionalContext(GuestArtistorPerformanceTroupe)..............................................................................................................129

MicroGrants:DramaClubs...................................................................................................130


OverviewofTheaterToursandGrants..........................................................................133

“OurCommunity”Box.............................................................................................................134

CommunityAssetMapping...................................................................................................136

UnderstandingCommunity“Characters”......................................................................138

DevelopingaThree-PointPresentation.........................................................................140

EngagingCommunityLeaders............................................................................................142

EngagingtheMediaandPublicity.....................................................................................143

TheaterTourPlanning&Reporting.................................................................................145

GrantandBudgetManagement..........................................................................................147

ActionPlanning..........................................................................................................................149

Chapter12–FurtherDevelopmentofTheaterSkillsandModelsforTours....150

RevisionstoForumTheatreModels................................................................................150

FramingPerformances...........................................................................................................152

AudienceManagement...........................................................................................................153

HotSeat..........................................................................................................................................154

GLOSSARY...............................................................................................................................................155

BIBLIOGRAPHY....................................................................................................................................156

APPENDICES&HANDOUTS...........................................................................................................157

TrainingofTrainers–SampleAgenda.................................................................................157

CampOne–SampleAgenda......................................................................................................165

CampTwo–SampleAgenda.....................................................................................................177

Joker’sChecklist..............................................................................................................................184

FactorsthatInfluencetheAudienceExercise..................................................................188

CurriculumWorkshopPlanning.............................................................................................190

DramaClubPlanning–Flipcharts..........................................................................................191

DramaClubPlanning-Checklist.............................................................................................192

AddYourOwnExercises!Handout........................................................................................198

FacilitationHandout.....................................................................................................................201


ForumTheatreStructureHandout........................................................................................207

DevelopingYourLeadershipAttributesHandout..........................................................211

CommunityAssetMappingOverviewHandout..............................................................212

StepsforDevelopingaThreePointPresentationHandout.......................................213

StrategytoEngageCommunityLeadersHandout.........................................................215

TheaterTourCommunityPlanHandout............................................................................216

TheaterTourPlanningChecklistHandout.........................................................................218

Publicity/MediaStrategyHandout........................................................................................221

TheaterTourBudgetTemplateHandout...........................................................................222

GrantMoneyManagementTipsHandout...........................................................................227

ActionPlanningChecklistHandout.......................................................................................228


SECTIONI–IntroductiontoDCTMethodologyandFacilitation

Chapter 1 – About this Manual

ThisDramaforConflictTransformation(DCT)manualwasdevelopedbyDr.AnandaBreed and IREX staff for theYouthTheater for Peace (YTP) projects in TajikistanandKyrgyzstan, fundedbyUSAID.The formerYTPmanualwasadaptedbyBreedforthecontextoftheMobileArtsforPeace(MAP)projectinRwanda.

Background

TheYouthTheater forPeaceprogrampromotes sustainable conflictpreventionatthecommunitylevelthroughaparticipatorytheatermethodologycalledDramaforConflict Transformation (DCT). The programs will ultimately create a group ofempowered youth and supportive adults who are equipped to lead community-based conflict resolution activities—sharing DCT techniques within their largercommunitiesthrougharts-basedclubsandtheatretours.

The goal of Youth Theater for Peace is sustainable conflict prevention at thecommunitylevelbyachievingthefollowingobjectives:

•Youth-servingprofessionalsdevelopskillsandattitudestoengageyouthinDramaforConflictTransformation.

• A cadre of youth is mobilized and empowered to share DCT with the largercommunity.

•TrainedprogramparticipantsinstitutionalizeDCTmethodologiesintheirschools,NGOs,workplaces,andotherinstitutions.

TheoveralllearningobjectivesoftheDCTcurriculumareforparticipantstobeableto:

• Analyzeconflictsintheircommunitiesusingtheaterexercises• Create,produce,frameandfacilitateaForumTheaterperformancebasedon

acommunityconflictissue• Plan,implementandengagethecommunityinprojectsusingDCT


• FacilitateDCTactivitiesforyoungpeople(includingpeer-to-peerfacilitationbyyouthparticipants)

FacilitationConsiderations

SeveraltrainingeventswereconductedundertheYouthTheaterforPeaceprojects.Refer to the sample agendas for a Training of Trainers (TOT) to introduce themethodologytolocalteachers,aSummerCamp1tointroducethemethodologytoyoungpeople, andaSummerCamp2 tobuildon the skills gained inCamp1andprepare youth to share DCT with their communities through Theater Tours. Youmaywishtoalterthesequenceofactivitiesdependingonthelevelofthegroup,andtheamountoftimeavailable.

Thismanualreferstoparticipants(adultsattheTOT,youthatthesummercamps)aswellastotrainers(youth-servingprofessionalstrainedattheTOTwhoassistedinfacilitatingthesummercamp)andtoyouasthefacilitator.Localtrainersshouldbeencouragedtopracticetheirfacilitationskillsbyleadingasmanyoftheexercisesaspossible(asdesignatedbyyou,themainfacilitator,basedonyourassessmentoftheirreadiness.)Dependingonthenumberoftrainers,itmaybenecessaryforthemtowork inteamsof twoor three.Theyshouldbecoachedtosupportoneanotherwithlogisticalandbehaviormanagementneeds,whileclearlyplanningoutwhowillleadeachactivity.

SectionI:IntroductiontoDCTMethodologyandFacilitationincludeshelpfulhintsonorganizingaDCTworkshop,structuringexercisesandestablishinggroupdynamics,aswellasanillustrationofgoodfacilitationtocreateasafe,fun,andinformativespaceforparticipants.SectionII:DCTActivitiesandTheaterTechniquesincludesatoolboxofDCTactivities,arrangedinalphabeticalorderbytype(warm-up,lead-in,mainactivity,energizer,orclosingactivity.)Notationsonsequencingindicatewhencertainexercisesshouldbeusedtobuilduponearliertrust-buildingorskill-buildingwork.SectionIII:TrainingandSustainabilityincludesactivitiestogiveparticipantspracticeindesigningandfacilitatingtheirownDCTactivitiesandworkshops,aswellasprojectdevelopment,planningandmanagementskills.(ThemajorityofSectionIIIactivitieswereincludedinSummerCamp2,afterparticipantshavealreadydevelopedbasicDCTskills.)

TheMobileArtsforPeace(MAP)projectinRwandawillutilizetheYTPtoolkitandbuildonbestpracticesworkingwithandforyoungpeopleaspartoftheChangingtheStoryproject(https://changingthestory.leeds.ac.uk).


Chapter 2 - About DCT and Interactive Theater Methodology

AbouttheMethodology“Theatre isa formofknowledge;it shouldandcanalsobeameansof transformingsociety.Theatrecanhelpusbuildourfuture,insteadofjustwaitingforit.”

–AugustoBoal,GamesforActorsandNon-Actors

Interactivetheatreisaflexiblesetofgames,exercises,andtechniquesthatareusedto create dialogue about issues of concern to a community. Interactive theater issometimescalled“participatorytheatre”or“community-basedtheatre,”orwhenitisappliedtoworkwithconflictissues,“DramaforConflictTransformation.”Interactivetheatrehasbeenusedinover70countriesinNorth,Central,andSouthAmerica,Asia,Europe,Africa,andAustralia.1Ithasbeenusedinurbanareasandinruralones, and in diverse settings such as schools anduniversities, rehabilitationcenters,orphanages,jails,andcommunitydevelopmentprograms.Interactivetheatretechniquescomefromawiderangeofsourcesincludingtheatregames, theatre for development, and applied theatre.However, the techniques allhave in common their use as participatory methods for communities to identifytheirneedsandtoworktogethertowardschange.Varioustechniques in thismanual,includingImageTheatreandForumTheatre,have been specifically developed from a Brazilian practitioner named AugustoBoal. As the director of the Arena Theatre in Sao Paulo from 1956-1971, Boalcreatedagenreoftheatrecalled‘TheatreoftheOppressed.’Afteramilitarycoupin 1968, Boal developed exercises to engage the populace to create their desiredfuturebystagingandrehearsingproblemstheyfacedandtheirpotentialsolutions.Among some of the methods were Image Theater and Forum Theatre, boththeatricaldeviceswhichestablishdialogueandcommunityproblemsolving.

a) ImageTheatre: ImagetheatrewasdevelopedbyBraziliandirectorAugustoBoalasaresponsetogovernmentcensorship.Thistechniqueallowspeopletouse images(frozentableauxor ‘statues’) toexplorereal and ideal situations in their lives and communities. Boaldescribestheprocessasfollows:

1TheInternationalTheatreoftheOppressedOrganization,http://www.theatreoftheoppressed.org/en/index.php?nodeID=3


‘Whenfinallyanimageisarrivedatthatisthemostacceptabletoall,thespectator-sculptorisaskedtoshowthewayhewouldlikethegiventhemetobe;thatis,inthefirstgroupingtheactualimageisshown,andin the second, the ideal image. Finally he is asked to show from onereality to theother. Inotherwords, how to carryout the change, thetransformation, the revolution, or whatever term one wishes to use.Thus, starting with a grouping of ‘statues’ accepted by all asrepresentativeofarealsituation,eachoneisaskedtoproposewaysofchangingit.2

As Boal espouses, participants are able to actively engage in sculpting the ‘actualimage’tothe‘idealimage’,basedonaselecttopic.

b) ForumTheatre:BoalcreatedForumTheaterinanefforttobreakdownthe“invisiblewall”betweentheactorsandaudience in theatre. Thegoal is foraudiencememberstodevelopactionplanstowardstheresolutionofactualpersonal conflicts through dramatic interventions. The spectator of thedramadoesnotonlywatchtheperformance,butalsoacts -becomingwhatBoalcalledthe‘spect-actor’.

To devise a Forum Theater play, participants start by discussing issues ofoppressionintheirlives.WithinthecontextoftheTOTworkshop,participantswillsharescenariosrelatedtoconflictintheirregions,ormomentsinwhichtheywerenotable toachievepeace,withinagroup.After listening tooneanother’s stories,participantswillselectoneor twostorieswhich illustrateproblemstowhichtheywouldliketofindsolutions.Thestoriesarethenrehearsed,makingclearwhoistheoppressor (antagonist) and the oppressed (protagonist). (Although Boal used thetermsoppressor/oppressed,wewilluseantagonist/protagonist.)During therehearsalprocess,participantswill illustratekeymomentsofpotentialintervention,whereadifferentchoicebytheprotagonistcouldchangetheoutcomeofthescenario. Thescenarioisperformeduptothemomentofcrisis.Thereisnoresolution. The performance is demonstrated one time throughwithout stopping,then an audience/performermediator called the Joker tells the audience that thestorywillbeplayedbackagain,andatanypointinthestoryinwhichtheyfeeltherecould be a different action to create a different outcome – individual audiencemembersmayyell ‘STOP’.Theactors freeze.The individualaudiencememberwillthencomeuptothestage,taketheplaceoftheprotagonistandcontinuefromthatpointintheaction,playingouttheiralternativeideatocreateanidealoutcomeforthescenario.

2Ibid.p.l35.


ThismanualalsoincludesvarioustechniquesfromPlaybackTheatrewhichweredevelopedbyanAmericanpractitionernamedJonathanFox.

c) Playback Theatre: originated in the 1970’s, integrating elements ofstorytelling,ritual,andpsychodramaintoaparticipatoryformoftheatre.Theform is based on sharing personal stories, and having the stories ‘playedback’byagroupoftrainedPlaybackperformers.Co-founderJoSalasexpandsonthesignificanceofsharingstories:

‘Lifewhileitishappeningtouscanseemrandomandundirected.It’softenonlywhenwetellthestoryofwhathappenedthatsomeordercanemergefromtheabundant jumble of details and impressions.Whenweweave our experienceintostories,wefindmeaninginwhatwehaveundergone.Tellingourstoriestoothershelpsus to integrate thestory’smeaning foruspersonally. It isaway,too, for us to contribute to the universal quest for meaning. The intrinsicelement of form in a story can transmute chaos and restore a sense ofbelongingtoaworldthatisfundamentallypurposefulafterall.’3

Duringaplaybackworkshoporperformance,theemphasisisbasedondiscoveringthe‘essence’ofthestory;illuminatingthemeaningunderlyingthestorywhichmayhavebeensaidorunsaidbytheteller. For thepurposesof thismanual,Playbackdevelops skills in active listening. Exercises such as Fluid Sculpture (pg. 79) andThreeImageStory(pg.96)areopportunitiesfortrainerstobuildskillsinfindingtheessenceofastoryand‘playingitback’throughvariedtechniques.ThesetechniquesarecomplimentarytoForumTheatre,andcanparticularlybere-emphasizedduringthesharingstoriesstageofForumTheatredevelopment.Activelisteningshouldbeside-coachedthroughoutthetraining.

3JoSalas,ImprovisingRealLife:PersonalStoryinPlaybackTheatre.(NewYork:Tusitala,1996).


Chapter 3 - Recommendations for Facilitators and Camp

Organizers

HowtoUsetheManualThe manual is provides sample agendas for a Summer Camp 1 – designed tointroduceDCT to youngpeoplewithout priorexperiencewith themethodology –andaSummerCamp2–designedtobuildupon the skills learnedatCamp1andequip participants with the tools to share DCT with their wider communities. Inaddition,themanualprovidesa“toolbox”ofDCTactivitiesarrangedbytype(warm-up,lead-in,mainactivity,energizer,closingactivity)toallowforquickreferencetoindividualexercisesandeaseofadjustmentstotheproposedagenda.Thematerialcanbeadaptedbyyouasthefacilitatortobeculturallyorregionallyspecificandtointegratevariousthemesimportanttotheparticipantgroup.Throughoutthemanual,considerhowyoumight facilitate theexercisesandmakeanysubstitutionsifnecessary.Considerhowyouwouldintroducetheexercises?Arethere any imbalances in the groups concerning: age/gender/ethnicity/religiousaffiliation/sexual orientation/socio-economic background? How will you help tomediatethesedifferencestocreateasafeandinclusiveenvironment?

Pre-WorkshopPreparation

Eachfacilitatorandgroupwillhavetheirownethosandritualintermsofopeningand closing aworkshop. Be open to how youmight include these variations intoyourworkshop.Hereisoneideaforan‘opening’or‘welcome’thatcanbedoneonthe first day of a workshop. Below are important pre-workshop instructionsparticipantsshouldbegiveninadvanceoftheworkshop:

• Preparea‘welcome’or‘greeting’.Thismayincludeasong,adance,aritual,oragamethatinvitesoneanotherintothespaceandtoopentheworkshop.

• Bringimages(photos/videoclips/illustrations)ofyourregionthatillustratefor others a sense of place. Questions that you might ask yourself whilecollectingtheseimagesmightinclude:IfIwastoguideafriendthroughmycommunity,whatwouldbespecificpersons/places/objectsthatwouldhelphim/hertounderstandmyregion?Whataresomeofthechallengestopeace


inthisarea?Whataresomeimagesthatrepresentapersonalstoryforme?Whataresomeoftheimagesthatrepresenthope?

• Be prepared to demonstrate and teach a regional dance, song, or theatretechniquefromyourregionwiththeothertrainers.

• Bring any music (at least one traditional, one modern) that could helpsupportyourdemonstrationsandtouseforeveningentertainment.

• Bringlooseandcomfortableclothingthatyoucanmovearoundin.

Materials

The following list ofmaterials is recommended for anymulti-dayDCTworkshop.The quantity will be adjusted based on the number of participants and staffanticipatedforyourworkshop.

NecessaryMaterials:

• CDplayer• MusicCDs• CopiesofDCTManual• ParticipantLists(should includelastname, firstname,school/organization,

location,address,telephone,email)• Pens• Notepads• Reamsofwhitepaper• Reamsofcoloredpaper• Scotchtape• Scissors• Coloredmarkers• Coloredpencils• Flipcharts• Flipchartstand• Chairs(easytomove),oneperparticipant• Volleyball(s)• Soccerballs(s)• Boardgamesorothergamesforparticipantstouseduringfreetime

Recommended:

• Projectorscreens


• Projectors• FullPAsystem• DigitalCameras• Camcorder• LaptopsandPowerCords• Staplersandstaples• Paperclips• Rubberbands

ParticipantGrouping

Manyof theactivities in thismanualwillbe conducted insmall groups.ForsomeactivitiessuchasForumTheatreorsustainabilityplanning,itwillbeimportantforparticipants to be placed in groups with others from their region or homecommunity. However, the camp experience should also include work in mixedgroups, enabling youth to create a tolerant environment with participants fromotherareas.Herearesomeexamplesofhowfiftyyouthmightbebrokendownintovariousgroupcombinations:

Different colored camp t-shirts, if available, allow the facilitator to breakparticipants into groups quickly. If there are fifty youth, ten t-shirt colors can beassigned, so that there are five participants with each color. During registration,staff or volunteers should spread the t-shirts evenly between different regionalgroups.

RainbowGroups: To form groups of five, you can call out ‘rainbow’ and instructparticipants to form a group representing all the different shirt colors present. Ifthereare50participants, therewillbetengroupsof fiveparticipants,eachwithadifferentcolort-shirt.Ex:EachgroupwillhaveparticipantsfromGreen,Red,Yellow,Orange,andBlue.

Mixed Color Groups: To form groups of ten, you can assign two t-shirt colors toworktogether(ex.GreenwithRed,BluewithYellow,etc.),

Transitions from large group (plenary) activities to small group activities can bemademoredramaticbyhavingeachgroupdecideuponasignaturemovementandsound(ex.motorcycle,buzzingbees,etc.)tousewhengatheringtogether.Whenthetime to split into groups comes, groupmembers can thenmake their designatedsound,gathertogether,andthenexitthespace.

SettingExpectations/GroundRules

It is important to set expectations and ground rules for any workshop so thatparticipantscanplayarole indeterminingwhatkindofbehaviorwillbeexpectedand allowed in group situations. By allowing participants to create their ownframeworkofexpectationsratherthanatop-downsysteminwhichfacilitatorsboth


makeandenforcetherules,participantsfeelastrongersenseofcontrolandarelesslikelytofeelrestrictedbyrulesandrebel.Ultimately,thishelpstocreateasaferandmoreproductivespace.Thefollowingactivityoutlineshowtofacilitatetheprocessofsettinggroundrules.


ExpectationsandGroundRulesActivityPurpose:Tosetgroundrulesandtoshareexpectationsforthetwo-weekcamp.

Length:20-30minutes

AgeLevel:Alllevels

Materials/Props: Chairs (enough for all participants), manuals, two flip charts,markers

Approach:§ Divideparticipantsintosmallgroups.§ Explain that participantswill have the opportunity to decide on ground rules

and expectations for theworkshop, andwill spend 10minuteson each.Usinggroundrules,participantscanagreeuponwhatbehaviorisnecessarytoensurea safe spaceat camp.Expectationsarebased onwhatparticipantshope togetoutofthecampexperience.

§ Passouttwolargesheetsofflipchartpapertoeachgroup.§ Direct participants to write Ground Rules on the top of one sheet, and

Expectationsonthetopofthenextsheet.§ Provide one example of an important ground rule (examples: start and end

sessionsontime,nosmokingduringsessions,participateinsessionswithfocusandenergy)

§ Ask participants to share their own ideas about what kind of behavior isnecessary to have a fun, productive and safe week. Working in their smallgroups,participantsshouldwriteouta listofagreedgroundrulesontheir flipchartpaper.

§ Notify participantswhen tenminuteshave passed, and instruct them to begindiscussing their expectations for the workshop and to list them on theExpectationsflipchartpaper

§ After ten minutes have passed, ask all small groups to gather together anddesignateoneparticipantasascribe.

§ Allow each group to take turns presenting their ideas for Ground Rules fromtheirflipchartswhilethescriberecordsandconsolidatesthegroups’responseson a main flip chart at the front of the room. Ask the groups not to repeatanythingwhichhasalreadybeennotedbyanothergroup.

§ Next, do the same for Expectations, allowing the small groups to take turnspresentingtheirideasaboutexpectationswhileascribewritesthemonamasterlist.

§ Afterallgroupshavepresentedtheirfeedback,asktheparticipantsifthereareanyremainingexpectations/groundrulesthattheyfeelarewhicharemissing.

§ Ifthereistimeforabreak,suchasamealorfreetime,youmaywishtoreviewthese Ground Rules and Expectations with the other facilitators, staff andvolunteersand translate them intoanynecessary languages, toensure that allparticipantscanclearlyunderstandtheagreements.


§ Inaddition,reviewtheExpectationswithother facilitators todeterminewhichof the participants’ expectationswill bemet by theworkshop andwhichmayneed tobe includedbyadapting theworkshopcontentplanoraddressing theexpectationthroughouttheweek.

§ Whentheparticipantshavereassembled,askparticipantsagainiftheyfeelthatanythingismissingfromthetwoagreements.

§ Direct participants to read the ground-rules and expectations agreements outloud.While readingaloud, askparticipants todemonstrate their acceptanceofthe ground rules by standing up or clapping their hands. With youngerparticipants, youmightwant tohave themsign theagreements, to show theircooperationwiththestatedgroundrules.

§ Explainthatparticipantsmayspeaktothefacilitatorindividuallyifthereareanyproblemswiththestatedgroundrules.

§ Display the agreement lists prominently for the duration of the workshop, toremindstudentsofwhatthey’veagreedupon.

PossibleReflectionQuestions:§ Howmightyouenforceagreements?Forexample,will therebeaconsequence

forbeinglate?(example:singasonginfrontofthegroup)§ Whatdidyouexpectatthestartoftheworkshop?§ Are there any expectations that you have of theworkshop that have not been

addressed?

OtherRecommendations

TheexercisesinthemanualaredesignedtointroducetheDCTtechniques,graduallytrainingtheparticipantstoleadsomeoftheactivitiesthemselves.

Togivepracticeinfacilitation,itisrecommendedthateachmorningandafternoonsession beginwith a plenarywarm-up, lead-in, or energizer activity by a ‘duo’ ofparticipants.The‘duos’tofacilitatetheexercisescanbeprogrammedinadvanceforampleplanning,andtofitintotheobjectivesofthesession.Each morning could also start with a daily ritual, such as a vocal warm-up liketongue twisters or enunciation exercises. Vocal skills can be side-coachedthroughout.AstheDCTexercisesoftenexploresensitiveemotionsandpersonalstories,alocalcounselorwhospeaksthelanguagesoftheparticipantscanhelpcreateasupportiveatmosphere. For communities where there has been recent violence or othertrauma,havingacounselorpresentisstronglyrecommended.Planningsupervisedandstructuredfreetime,suchassportsandgames,intoaDCTworkshop is also important to allow youth participants time to de-compress andsocialize.Entertainmentfromvisitingtheatergroupsormusicians,aswellas“openmicrophone”nightswhereparticipantssharetheirownsongs,dancesandskitsalsohelpscreatealivelyandfunatmosphere.



Chapter 4 - Facilitation

Theartof facilitation requiresvarious skillsso that the facilitator canensure thatparticipants are able to share ideas, to ask questions, and to take risks. Thefacilitator should support a group process to reach common objectives, tosometimes challenge thinking, to provide multiple perspectives from within thegroup, and to enable a strong and supportive structure for the group process. Afacilitator helps to keep a group on task, to keep track of time, and to provide aphysically and emotionally safe space to work. Some of these skills include thefollowingtraitsasnotedinthe‘HopeisVitalTrainingManual’byMichaelRohd:

WhatGoodFacilitationLooksLike

Agoodfacilitator:

• Is energized and enthusiastic about the process. You don’t match theparticipants’ energy level because theirs is usually a lower energy at first.Youcreateanenvironmentwithitsownenergyanddemandthattheycomeuptoit.

• Isagoodlistener.Thegroupmustknowyoucareabouttheirthoughtsandtheirresponsesandthatyouarewillingtolearnaswell.Thisisallsignaledbythewayyoulisten:thewayyoustand,thewayyoudoordon’tmakeeyecontact,andtheattentionyougivetotheirideas.And,mostimportantly,youhavetolistentodoagoodjobofknowingwheretheprocesscangonext.

• Is nonjudgmental.Youarenotup front tomovethescene inthedirectionyouthinkitshouldgobecauseofyourownopinions.Youareworkingfortheparticipants, completely trusting that these young human beings in a safe,creative environmentwill naturally explore responsible, healthy directionsandpossibilities.

• Deepens the discussion and moves the event forward. Throughquestioning, you are pushing the group to consider options, angles, andsituations in new ways-not by suggesting new things, but by sharingobservations, looking for consensus, and challenging responses at everyopportunity.

• Is confident in your role as tone-setter and guide, not in havingeverythingallfiguredoutaheadoftime.Clarifywheretheythinktheworkis going or could go. You are running the process but only in that you areservingtheprocess.


• Isawareofthedynamicsintheroom.Knowwhoisanxioustoparticipate,whoisquiet,andwhoisinthemiddle.Findwaystoinvolveasmanyofthesedifferenttypesofpeopleasyoucan.

• Understandsthattherewillbepeopleintheroomwhodon’twanttobethere. Make it clear that you would love their input at this stage of theprocessbutaswithothertask-relateddiscipline issue,youneedtheir focushereorthegroupcan’tproceed.Therecanbenodisrespecttoothers.

• Asks every question truly wanting to hear the answer. Never ask aquestion, expecting a certain answerwith your nextmove hinging on thatresponse.Alwaysmoveforwardfromtheresponseyouget,nottheresponseyouarepreparedfororhaveheardbefore.Listen.

Reflection

Following each exercise, and prior to the next, it is important to use reflectionquestions to stimulate discussion and debate about the participant learningexperience.Forthemostpart,askopen-endedquestionsthatallowtheparticipantstotraversetheirownexperientialjourneyofdiscovery.Lettheparticipantscomeupwiththeirownquestions, themes,andagendas.Basically, the facilitator is theretohelp support the participants to be self-reflexive, and to decide upon their ownagendas.Herearesomekeypoints thatyouwillwant tobemindfulof in termsoffacilitatingagroupandmonitoringaworkshop.

• Reflection Questions – each exercise should culminate with a series ofreflection questions that allow participants to guide their own experienceandlearning.Samplequestionsare:

Whathappened?

Howdidyoufeelduringtheexercise?

Whatdidyounoticeinthegroup?

Whatthemesorideasemerged?

Howmightyouusetheseexercisesinthefuture?

Isthereawaythatyouwouldadapttheseexercisestobeappropriateforyourregion?Foraparticularagerange?

Howwouldyoulinkthisexercisetothenext?

Whatwouldbemainconnectionpoints/questions/themesthatyouwouldbuildupon?

Wasthereaparticularmomentthatstoodouttoyouas‘learning’?

Whatwouldyoutakeawayfromthisexercise?


ExperientialLearning

During the facilitation of exercises, find moments either during the process orfollowing the exercises to get feedback from the participants, and for furtherreflection.Ask for commentsorobservations. It can sometimesbeuseful to thinkabout theexperiential learning cyclewhencontemplating thearchof theexercisethatyouareleading,ortheoverallarchoftheworkshop.

Therearefivemainphasesoftheexperientiallearningcycle:

• Experiencing• Publishing• Processing• Generalizing• Applying

The ASTD Trainer’sWorkShop Series ‘Coaching Training’ defines the five phases,developedfromJonesandPfeiffer(1985):

Experiencing – is the activity phase of experiential learning. It involves learnersengaging ina common learningactivity thatprovides thebasis for extrapolation tothe‘realworld’.Forexample,everythingthatprecedesthedebriefingintheexercisesinthisworkbookcouldbethoughtofasexperiencing.

Publishing – involves learners sharingwhat they experienced and observed duringthe learning activity, or Experiencing, phase. This sharing may consist of feelings,thoughts,andreactionstoeachother’sbehavior.Thisconstitutesthe‘rawdata’fromwhichlearningcanbeabstractedthroughthenexttwostepsofthecycle.

Processing–isgroupdiscussionofthedynamicsofthelearningactivity.Thesearchhereisforcommonalities,trends,andotherpatternswithinthedatasetflushedoutbythePublishingstep.Generally,theProcessingstepisaidedbyhavingthefacilitatoraskquestionsthatbeginwitheither‘what’or‘how’ratherthan‘why’.

Generalizing – requiresmoving thegroupdiscussion from ‘inhere’ to ‘out there’. Itmeans drawing ‘truths’ from the common learning experience. Learners draw ‘Sowhat?’ conclusions. The facilitator poses questions that lead trainees to think aboutwhatseemstobetrueabouttheirworldsfromthediscussionoftheircommonlearningexperienceanddiscussionoftheirreactions.

Applying–isdiscussingwhatwaslearnedandcommittingtoputtingittowork.Thefacilitator leads learners to respond to the general question, ‘Now what?’ Theapplicationsmayfocusonteams,individuals,ortheorganizationitself.Typically,themasterfacilitatorpushesforconcreteactionplanning,basedonwhatwaslearnedintheexercise.Thisinvolvesspecifyingwhatwillbedone,bywhom,withwhatintent,towhatextent,andexactlywhen.Thefacilitatoralsopushestraineestodeterminewhatmetricstheywillusetotrackprogresstowardstheirgoals.


DebriefingExperientialLearning

Theexperiential learningcycle isadevice for facilitators toengageparticipants intheir own learning process. Here are some questions that can be used in thefacilitationofexercisesusingtheexperientiallearningcycle:

Experiencing:

• Whatemotionsdidyouexperienceduringtheactivity?• Inresponsetowhatdidyouhavethesefeelings?

Publishing:

• Howdidyouseeyourselfbehavingduringtheexercise?• Whatdidyounoticeinthebehaviorofothers?• Howdidyoureacttoothers’behaviorduringtheexercise?• Howdidothersrespondtoyourbehavior?

Processing:

• Whatpatternsofbehaviorseemedtoemergeduringtheactivity?• Whatdidthefeelingsofgroupmembershaveincommon?

Generalizing:

• Whatcanweconcludefromtheresultsofthisexercise?• Whatseemstocausewhatinthistypeofsituation?• Howdoesthisexercisemirrorwhatgoesoninourworkascoaches?• Whatappeartobethecostsinvolvedindoingtasksthewaywedidthemin

thisexercise?• Whatwouldbesubstantiallybetter?• Asaresultofparticipatinginthisexercise…

*Whatdidyoulearn?

*Whatdidyoure-learn?

*Whatareyoubeginningtolearn?

*Whatdoyouneedtolearn?

Applying:

• Howmightwebehavemoreeffectivelyascoaches,givenwhatwelearnedinthisexercise?

• Howmightour coachesusewhatwe learned in this activity tomake theirtaskandrelationshipbehaviorsmoreeffective?


• Whatwillyouasacoachdodifferentlyasaresultofwhatwelearnedinthisexercise?

• Whenwillyoudoit?• Howmuchwillyoudoit?• Wherewillyoudoit?• Howwillyoutrackprogressonapplyingwhatyoulearnedinthisexercise?

Theroleofthefacilitatoristoguidetheparticipantstowardstheirownquestions,andtowardstheirowndiscoveries.Itisimportantthattheparticipantsrespondtotheir own experience by suggestingwhen they need anything not included in theworkshop.

GroupDynamics

Asafacilitator,itisimportanttoconstantlymonitorgroupdynamics.Oneshouldbeawareoftheenergylevelinthegroup,andtheirneeds.

Howareparticipantsworkingwithoneanother?

Whoiscomfortableworkingtogether/uncomfortableworkingtogether?

Howcanyoufacilitatetrustandopencommunication?

Areyoutryingtoequalizevariouspowerdynamicsrelatedtogender?

Areyoutryingtoequalizevariouspowerdynamicsrelatedtoage?

Thesequestionsarebeingnavigated throughout theworkshop, andoftenbecomedeciding factors forhow youmake groups, and potentially, the next exercise thatyou would want to transition into. Although a workshop should always be fullyplanned, therealsoneeds tobea certain levelof flexibility in termsof addressingthe needs of participants and to change exercises if needed, determined by theenergy level or group dynamics. According to psychologist and group dynamicstheorist Bruce Tuckman, group dynamics go through four main phases: forming,storming,norming,andperforming.Sometimes, a groupwill go throughall fourofthephases,justafew,ormayonlyincorporateacouple.Usually,agroupwillstartfromtheformingstage,butagroupcandevelopfromanygivenpoint.Itisusefultothinkofthephasesofagroupprocess,tomonitorwhatphaseyourgroupmaybein,and facilitate accordingly. Below are some characteristics of behavior whichparticipantsmaydisplayduringeachphase:

Forming: The beginning process of a group. Members are usually on their bestbehavior. The participants get to know one another, and the facilitator is able toassesshowpeopleworkindependentlyandwithoneanother.Usuallyatthisstage,the facilitatorgivesanoverviewof theworkshop,setsgroundrulesnegotiatedbythegroup, and requestsparticipants toshareanyexpectations theymighthave inbeingpartoftheworkshop.


Storming: During the storming stage, participants are testing boundaries, andplayingwithrolesandpowerrelations.Agroupwillalwaysgothroughthisstage,and it should be considered a necessary step in creating a dynamic, safe, andexpressivegroup.However,theremaybesomebehavioralchallengesthatyouwillneedtoaddress:

• ParticipantsthatMonopolize –Let theparticipantknow thatyou’venoticedthe frequency of his/her comments. If the problem continues, take theparticipantasideandlethim/herknowthatitwouldbehelpfultohaveotherparticipantsvoicetheirviews,buttodothat,thereneedstobespace.

• ParticipantsthatLecture–Sometimes,you’llgetaparticipantwhowants toprovetheamountof informationthat theyhave,oftenwithoutrelevancetotheactualdiscussion.Directthecommentsbacktothesubjectathand.

• ParticipantsthatareSilent–Often,thesilentandobservantparticipantshavealottosay!Asktheparticipanttosharehis/herideas.Don’twaitforthemtospeak,callonhim/her.

• ParticipantsthatClown–Don’tfallintohis/hertricks.Usealevelvoice,andcontinuetoguidethegroupbacktothepointofdiscussion/activity.Duringabreak,speaktotheindividual.

Itmaybenecessarytogobacktothegroundrulesasareminderofagreementsthathavebeenmadebyeveryone.

Norming:After thestormingstage,participantsbegintonormalizetheirbehaviorthroughmutualconsensus.Thismayhappenformallyor informally,asindividualsbegintobalancepowerdynamicsamongstthegroup.Sometimes,thismayhappenformally by revisiting ground rules, setting up new modes of engagement, ordefiningrolesandresponsibilitiesamongstthegroup.Itcanalsohappeninformally,whenthedominantpersonalitymaypullbacktoallowformorepassivememberstoparticipate.Itisusefulforthefacilitatortosuggestforindividualstochallengetheirnormalbehaviorandtoexperimentwithalternativewaystoparticipate.Forasilentparticipant,itmaymeanspeakinguportakingaleadershiproleinthegroup.Foradominantparticipant,itmaymeanobservingandrecordingthegroupactivities.

Performing: The final stage of a group process is performing. At this stage, thegroupisworkingasateam,makingdecisionsindependentlyandeachpersonfeelsthattheyhaveavoice.Evenatthisfinalstage,thegroupcangobacktothestageofstorming, but usually the group has decided upon rules of communication androles/responsibilitiesthataidinthedecision-makingandproblemsolvingprocess.At thispoint, trusthasbeenbuilt,whichalsoprovidesamore fluiddynamicgoingbackandforthbetweenstormingandperforming.


Chapter 5 - Workshop Curriculum Structure

AllDCTsessionsshouldbeplannedusingaworkshopcurriculumstructurewithawarm-up,lead-in,mainactivity,energizer,andclosingactivity.

WarmUpActivity

The warm-ups section of every workshop should include physical and vocalexerciseswhichenableparticipantsto:

• Gettoknowoneanother• Familiarizethemselveswiththespace• Preparethebodyforphysicalexercises• Focusthemind• Createasenseofcomfortandsecurity

Time: The allotted time for warm-ups can be anywhere from fifteen to thirtyminutes.Also,someoftheexercisescanbethemedtogenerateideasforupcomingactivities. Usually, the warm-up section of a workshopmay include two to threeexercises.

SafeSpace:Thefirstexercisesshouldbeinclusiveandbuildenergy.Followingafewexercises, the facilitator can have a discussion based on ‘safe space’. While thewarm-upsengagetheparticipantsbeforegoingdeeperintothework,itisnecessaryfor the first workshop with participants to set up ground rules – an agreementbetweenparticipantsofwhattheyneedtofeelsafe.Thismayincludeguidelinesinterms of how people treat one another (example: no interrupting). You may listtheseideasonalargesheetofpaperthateveryonecansignandpostthepaperinacentral location which will be used throughout the workshop, to serve as areminder.

Feelfreetoadapttheexercises,ortoaddinyourown.Also,sportsor‘icebreakers’can serveaswarm-ups.Basically, youwant toexcite thegroup, and toestablishaclearbeginningtotheworkshop.

Lead-InActivity

Thelead-insectionofeveryworkshopwillenableparticipantsto:

• Learn theatrical skills including vocal tonation, blocking, characterization,levels,andspatialawareness

• Identifykeythemesandissues


• Developanunderstandingof theatremethodologies includingPlaybackandTheatreoftheOppressedtechniques

• BuildteamworkThelead-inactivitiesserveasalinkbetweenthewarm-upsandthemainactivities.Asalead-in,theactivitiesusuallyintroducevariousconceptsorthemesthatwillbeusedinthemainactivities.Also,theactivitiescanserveasanevaluativetoolforthefacilitator to understand the issueswhich participants aremost eager to explore,and to support participants to take further initiative in setting thetone/energy/focus of the workshop. Often, the lead-in activities work off of theenergyfromthewarm-ups,butbegintointegratefurtherdialogueandtoestablishkeyquestionsthatmaybeexploredbythewholegroup.

MainActivity

Themainactivitysectionofeveryworkshopwillenableparticipantsto:

• Demonstrateimagetheatreandforumtheatre• Facilitatedialogueanddebate• Usetheatretechniquestowardsadevisingprocess• Reflectonregionallyspecificadaptationsofexercises• Drawoutresponsestoconflictandkeythemesoftheworkshop

The main activity is the central focus of the workshop. Up to this point, thefacilitatorhascarefullyconstructedasafespaceforeachparticipanttobecomefullyinvolved with their mind, body, and spirit. If for any reason, there are somemembersofthegroupthathavenotengaged,itisimportanttodecidehowtheycanbe involvedwithoutdetracting from themomentumof thegroup.Often, thismayinvolve serving as an outside ‘director’ or ‘sculptor’ or serving another particulartask within each exercise. Since the main activities involve strong focus andcommitment, itwillbe important togauge if thereareany issues in termsofwhoshouldworkwithoneanother,whoneedstobepushedalittlefurther,orwhocouldbepulledbackabit.Overall, it is important tocreateanequalplaying field forallvoices to be heard, and for an even and egalitarian space to be created. Theintention of the main activity is to serve as dialogue, thus it is important to usevarious techniquessuchas text/images/symbols/movement/music to incorporatedifferentlearningstylesanddifferentformsofexpression.

Energizers

Theenergizerssectionofeveryworkshopwillenableparticipantsto:

• Conductexercisesforparticipantstobuildteamwork,tofocusgroup,andtomonitorspaceandbodyawareness.

• Incorporatesongsfromtheparticipantsandtheirregions.• Discuss how the exercise can be used to learn about different learning or

communicationstyles


Theenergizersarejustthat,brieffunandinteractivegamesto‘energize’thegroupafterdoingin-depthworkduringthemainactivity.Often,themainactivitycanbringoutcontroversialissuesorcanopenupnewideasorfeelings.Energizersprovideavehicle tobrieflydistanceoneself from themainactivity, inorder to step into thereflective stage at the end of the workshop. It is important that the energizersincorporate thewhole group, use a lot ofmovement, andmost importantly – arefun!Often,sportscanbeusedasenergizersaswell.

ClosingActivity

Theclosingactivitiessectionofeveryworkshopwillenableparticipantsto:

• Identifykeymomentsintheworkshop• Identifykeythemesandissues• Explorethesuccessesandchallengesoftheworkshop• Analyze how the workshop activities can be altered for application in the

community

The closing activities serve as a reflective tool. Primarily, the space should beclearedofanymaterialsandthegrouparrangedinacircle.Therearevariouswaysof closing a session, but it is important that each participant is able to voice orillustrate his or her experience, whatever that might be. Sometimes, the closingmight involve reflecting on an aspect of the workshop that was affective orchallenging, or an intention post-workshop. Each participant is acknowledged fortheir involvement, andhas time toexpressany feelingsor ideas that they feel arenecessarytosharepriortoendingtheworkshop.


SECTIONII–DCTActivitiesandTheaterTechniques

Theactivitiesinthissessionarelistedalphabeticallywithinchaptersthatclassifythembytype.Asafacilitator,considerthelevelofdevelopmenttheparticipantshavereachedwhendeterminingtheorderofactivities.Someactivitiesareintendedtobuilduponskillsandlevelsofcomfortreachedinprioractivities;inthesecases,anoteonsequencingisprovidedatthebeginningoftheactivitydescription.


Chapter 6 - Warm-up Activities

AmplificationCirclePurpose:Todevelopphysicaltheaterskills.

Length:15minutesNumberofParticipants:5ormore

AgeLevel:8andup

Materials/Props:None

Approach:

§ Standinacirclewiththeparticipants.§ Performasmall,simplemovement(ex.scratchyourface,tugonyourear).§ Instruct the participant standing next to you to add on to this movement,

amplifyingyouroriginalactionssothattheyarebitlargerandmoreanimated.§ Direct the next participant to amplify the action even further, so that the

movementincreasesinsize,sound,andemotionasitmovesaroundthecircle.

Side-Coaching: Unlike theSpitfireCannon exercise (pg. 47)AmplificationCircle isnot focusedonspeedandenergy,butratheronconcentrationanddetail.Youmaywishtocoachparticipantsonprecisionasthemovementincreasesfromonepersontothenext.

PossibleReflectionQuestions:

§ Howcanyoubestembodythemovementandsound?§ Whattheatricalskillsdoesthisexerciseemploy?§ Whatotherexercisesmightyouusetodevelopskillsinperceptionandfocus?

Source:Unknown


BlindCarsPurpose:Tobuildtrustandsensoryawareness.Length:15minutesNumberofParticipants:2ormore

AgeLevel:Alllevels

Materials/Props:N/A

Approach:§ Dividethegroupintopairs;eachpairagreesonwhowillbethecarandwhowill

bethedriver.Thedrivershouldstanddirectlybehindthecar.§ Explainthatthedriverscanusefivegesturesto“drive”thecar,including:

1. Pattingonthetopofthehead–goforward2. Pattingontheleftshoulder–turnleft3. Pattingontherightshoulder–turnright4. Pattingontheback–reverse5. Nopatting-stop

§ Instructthedriverstopracticethemotionswiththeircarswhilein‘idle’(i.e.notmovingforward).

§ After practicing, instruct the cars to close their eyes and tomove through theactivityspaceinresponsetotheirdrivers.

§ Directtheparticipantstochangerolesafterafewminutes.

SideCoaching:Thisisasilentgame.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Wasitmorecomfortableforyoutobeintheroleofthecarorthedriver?Why?§ Whatdidyoudiscoveraboutyourselfandyourexperience?

Source:AugustoBoal


CircleDashPurpose:Toestablishfocusandcommunicationwithinthegroup.

Length:15minutes

NumberofParticipants:10ormore

AgeLevel:Alllevels

Materials/Props:Chairs(enoughforallparticipants,minusonechair)

Approach:

§ Directparticipantstositinacircle.(Iftherearemorethan20participants,youmay need several separate circles with a facilitator in each circle). Ask onepersontostandinthecentreofthecircle.

§ Instructparticipants to switchplaces in the circleof chairsbymakinga silentagreementwith anotherperson in the circle.While participants switch chairs,thepersoninthecentreofthecirclewillattempttoclaimoneoftheopenchairssothatanotherparticipantisleftatthecenter.

§ Atfirst,allowonlyonepairofparticipantstoswitchchairsatatime.§ After a few minutes, announce that anyone can signal to switch chairs with

anotherparticipantatanytime,evenifotherpairsarealreadyintheprocessofswitchingchairs.Makeitclear,however,thatoncetwoparticipantshaveagreedtoswitchchairs,theymustaimonlyforthechairoftheirmomentary“partner”andcannotaltertheirpathtoclaimanotheropenspaceinthecircle.

SideCoaching:Thisexerciseshouldbedone insilence inordertohelpthegroupfocus.Themainobjectiveoftheexerciseistoencourageparticipationbutallowtheparticipants to be in control of how much they participate (either switchingrepeatedlyorsimplysittinginthecircle).


§ Whatdidyouexperienceduringtheactivity?§ Whatdidyounoticeaboutyourbehaviorintheactivity?§ Weresomemembersmorewillingtoleadthanothers?§ Whatweresomeofyourreactionsandwhy?§ Howmightyouadapttheexerciseforfurtherinclusionofparticipants?

Source:MichaelRohd


DevampiahBackground:Themanual author learned this exercise inRwanda,Mashirika.ThewordsdonotmeananythinginthenationallanguageofRwanda,Kinyarwanda,andparticipantselsewheremayadapt theexercise tousewhateverwords theypreferfromtheirowncountry.

Purpose:Tofamiliarizeparticipantswithoneanotherthroughmovement;tocreateanatmosphereof inclusivity, fun, andcreativity; toemphasize inter/intra-culturalexchange.Sequencing:DuringthereflectionquestionsforDevampiah,someofthequestionsinclude‘Howdoyoufeel?Howdoesyourbodyfeel?’Usetheiranswerstotransitionintothenextexercise.Ifsomeoftheiranswersinclude,‘Mybodyiswarm,andIfeelhappy’ then you can link the exercise to the welcome exchange. The purpose ofwarm-upsistoloosenupyourbody,tomakeyoufeelrelaxed,andtoshareabitofyourself.Lettheparticipantsknowthattheywillbecreatingtheirownwarmupbyleadingawelcometoopenupthespaceandtomakeeveryonefeelcomfortable.Length:15minutes


AgeLevel:Alllevels


Approach:§ Directparticipantstoformacircle.§ Saythefollowingwords,andthenaskparticipantstoreciteitwithyou,lineby

line:OohYooYooDevampiahOohYooYooDevampiahOohYooYooDevampiah,Devampiah,Devampiah,Devampiah

§ After the participants have learned the song, instruct them to add a physicalmovementtoeachword,asfollows:

o Raiseyourrightlegwhilerecitingthefirstline:OohYooYoo.o Placetherightfootdown.Kickbackyourleftlegandrecitethesecond

line:Devampiah.o Repeatbothlineswiththeappropriatefootworkpatterntwotimes.o On the third line Ooh Yoo Yoo, jump inward, putting both feet

together.


o Then, the last line Devampiah, Devampiah, Devampiah,Devampiahisrecitedwhilecirclingyourbodyinplace.

§ Theorderoftextwithmovementisasfollows:OohYooYoo(Rightfootup)Devampiah(Leftfootback)

OohYooYoo(Rightfootup) Devampiah(Leftfootback)OohYooYoo(JumpinwardDevampiah,Devampiah,Devampiah,Devampiah(Turninacircle)§ Encourageparticipantstousetheirfullbodiesandvoices.§ Repeatwholesequenceseveraltimeswhilecircleofparticipantsmoveforward

inthecircle

SideCoaching:Youcanpromptparticipantstoincorporatetheirowndancestylesintothisexercise,orreplacelyricswithlocalwordsorsounds.PossibleReflectionQuestions:§ Whathappened?§ Howdoyoufeel?§ Howdoesyourbodyfeel?Describe.§ Doyoufeeldifferentnow,versuspriortothebeginningofthesession?§ Whydoyouthinkthisexercisemightbeimportant?§ Canyouthinkofothersongs/dancesthatcouldbeusedtowarm-upagroup?Source:RwandanTheatreTroupe,Mashirika


EmptyChairIntroductionPurpose:Toallowparticipantstolearnmoreabouteachotherinameaningfulway;toidentifythegiftsorstrengthsparticipantspossessindividuallyand/orasagroup.Sequencing:Thisactivitycanalsobeusedasalead-inactivity.Length:Dependsonsizeofgroup


AgeLevel:Alllevels

Materials/Props:Chairs

Approach:§ Directparticipantstositinacircle.§ Invitegroupmemberstothinkofsomeonewhoknowsthemwellandlikesthem.

Itcanbesomeonewhoisaliveordead,oritmightevenbeapet.§ Oneatatime,askeachparticipanttostandupandmovebehindtheirchairsand

pretendthattheyhavebecomethepersontheyidentified.§ Inviteeachparticipanttointroducethemselveswhileactingincharacterasthe

persontheyidentified.Thecharactersshouldtellthegroupwhattheylikeaboutthe participant. For example: A participant named Gulya says “I identify mygrandmother, Nana.” Gulya then moves behind her chair and becomes Nana.“Nana” then introducesGulya to thegroup. “This ismygranddaughter,Gulya,andwhatIloveaboutheris….”

SideCoaching:Thissimple introductoryexercise can sometimesbequite intense,especially if the person who is chosen has died, doesn’t usually express positivefeelings, or if there is some “unfinished business” involved. At the end of theexercise, be sure to process how participants felt about being introduced in thismanner. Oftenpeoplereport theywouldn’tusuallysaysuchpositivethingsaboutthemselvesbecauseitsoundstoomuchliketheyarebragging.PossibleReflectionQuestions:§ Whatwasitliketobeintroducedinthismanner?Source:LindaCondon


FaintingbyNumbersPurpose:Tobuildtrustamongtheparticipants.


AgeLevel:12andup

Materials/Props:N/A

Approach:§ Ask the participants to count off so that each participant has a designated

number.§ Explain thatwhenyoucall anumber, thepersonassociatedwith thatnumber

mustpretendto faintandallparticipantsmustrushtohisorhersidetocatchhimor her. The other participants should catch the fainting person’s fall, andothers should surround those directly supporting the fainted participant inordertoprovideextrasupportforanyadditionalweight.

§ Directparticipantstowalkaroundtheroom.§ Calloutanumberanddirectparticipants torushtothesideof theparticipant

whohasfainted.§ Repeatwithvariousnumbers.SideCoaching:Suggest that faintingparticipantsshouldbepreparedto fallsafelyandgentlyincasethereisnoonenearbytocatchthem.Ifphysicalcontactbetweenmaleandfemaleparticipantsisnotculturallyappropriate,participantsmayalsobesplitupbygendertoworkinseparatespacesonoppositesidesoftheroom.Source:AdaptationofAugustoBoal’sexerciseFaintingatFrejus.


ForestofSoundsPurpose:Toteachparticipantsto“listentowhatwehear”,andbuildtrust.

Length:15minutesNumberofParticipants:Fourandup.

AgeLevel:Alllevels

Materials/Props:N/A

Approach:§ Dividethegroupintopairs.§ Instructparticipants todeterminewhowillbetheguide (eyesopen)andwho

willbeblind(eyesclosed).§ Ask each pair to agree on a distinct sound they can use to communicatewith

eachotherandhavethempracticemakingthesoundseveraltimes.§ Directtheblindpartnerstoclosetheireyes.§ Asktheguidepartnerstorepeatedlymakethesoundtheyagreeduponsothat

theirblindpartnerscanfollowthemastheytravelaroundtheroom.Iftheguidedoesnotmakeanysound,thentheblindpartnershouldstopmoving.

§ Instructallpairs tobeginmovingaroundtheroomsimultaneously,sothat theblindpartnersmustlistenforthesoundofhis/herpartneramidstothersoundsandvoices.

§ Directthepairstoswitchroles.

SideCoaching:Youmaysuggestthatsomeindividualsvarytheleveloftheirsounds(high/low),tocreateastorythroughsound.


§ Whathappenedintheexercise?(Whatdidyousee,feel,orhear?)§ Whatdidyoudiscoveraboutyourselfandyourexperience?§ How did the guiding partners show their blind partners that they were

trustworthyandwouldleadtheirpartnersonasafepath?

Source:AugustoBoal


GoodMorningPurpose:Togreetoneanother;tomemorizenames.Length:5minutesNumberofParticipants:5ormore

AgeLevel:8andup

Materials/Props:N/A

Approach:

§ Directparticipantstostandinacircle.§ Introducetheexercisebystatingthatthegroupwillgreetoneanotherandgetto

knowoneanother’snames.§ Instruct participants to take another participant by the hand to say “Good

morning,_[Insertfirstname]_!”Ex:“GoodmorningAnahita!”§ Explainthatparticipantsmustnotletgoofthefirstpersonthey’veshakenhands

withuntiltheyhavegraspedthehandofanotherpersontheywishtogreet. Inthisway,aparticipantmustalwaysbeshakinghandswithsomeoneandcanonlydisengagewithapersononcehe/shehastakenthehandofsomeoneelse.

§ Whensaying‘Goodmorning’usetheirfirstname.The exercise is finished when everyone has greeted all of the otherparticipants.

Source:AugustoBoal


LemonadePurpose:Practicepantomimeandintroducecharacterization.Length:30minutes


AgeLevel:8andup


Approach:

§ Divide participants evenly into two lines, and direct the lines to stand abouttwentyfeetapart,facingeachother.

§ Instruct theparticipant teamstosecretlydecideupona tradeoroccupationtoactoutfortheotherteamtoguess.

§ Afterthetwoteamshavedecidedupontheiroccupation,instructthemtoreturntotheirline,facingtheoppositeteam.

§ Instructtheteamstorepeatthefollowinglinesandforthefirstteamtobegin:Firstteam:“Herewecome.”Secondteam:“Wherefrom?”Firstteam:“NewYork.”Secondteam:“What’syourtrade?”Firstteam:“Lemonade”Secondteam:“Giveussomeifyou’renotafraid.”

§ After the participants have learned their dialogue, direct each team tosimultaneouslytakeonestepforwardastheysaytheirlineofdialogue.

§ Explain that after saying the final line, “Give us some if you’re not afraid,” thefirstteamshouldactouttheirtradeoroccupation.Thesecondteammustthentry to guess the trade that the first team is acting out. The first team shouldcontinuetopantomimeuntilthefirstteamguessesthecorrectanswer.

§ Once the second team calls out the correct answer, direct second teamparticipantstotrytotagmembersofthefirstteam,whointurnmusttrytorunbacktotheirstartinglinewithoutbeingtagged.Anyonewhoistaggedmustjointhesecondteam.

§ Direct the second team toquietlyshare theiragreedupontradewithanynewmembers,allowtheteamstorepeatthedialogueabove.Thistimehowever,thesecondteamshouldstart thedialogueandcallout the linesthat the first teamusedinthepreviousround.

§ Ensurethatbothteamsareallowedthesamenumberofturns.Theteamwhichhasthelargestnumberofplayersattheendwins.

Source:ViolaSpolin


NameGamePurpose:Toidentifyeachpersonbytheirnameandanactionorcharacteristic.Length:15minutes

NumberofParticipants:N/A

AgeLevel:Alllevels


Approach:§ Askparticipantstostandinacircle.§ Inviteeachparticipant to thinkofanactionorcharacteristic they identifywith

that can perform along with their names. The action or characteristic shouldstart with the same letter as the first name (ex: Analyzing Anahita, JumpingJahandar,KickingKhaterah,MeditativeMahtab).

§ Begin theexercisebyperformingyourownactionor characteristic alongwithyourfirstname,andtheninstructeveryoneinthecircletomimicthemovementwhile saying your name aloud (ex: for Dramatic Darab, the individualpantomimes a swordfightwhile saying “Dramatic Darab.” Then, on a count ofthree, the other participants copy the same action while repeating “DramaticDarab.”

§ Continue clockwise around the circle,with each person performing hisor heractionorcharacteristicalongwiththeir firstname.Therestoftheparticipantscopythenameandmovementinunison.Carryonuntileveryonehashadaturn.

SideCoaching:Youmaydirectparticipantstotaketurnsaroundthecirclemovingcounterclockwise,ortointroducethemselvesinarandomorder.Youcanaddvariationtotheexercisebyaskingindividualstostatetheirnamewithan emotion or a sport that starts with the same letter of their name (ex: HappyHelen,FootballFiruz)andthendemonstrateamovementthatcorresponds.To help coordinate the participants’ unified voices and movements, you mightdecidetocounttothreepriorthegroup’sunifiedrepetitionofactionsandnames.Toincludemoremovement for energetic groups, you can instruct all participants totakethreestepstowardsthecenterofthecircletorepeatthenameandmovementofagiven individualbeforesteppingback intoawidercircleandcontinuingontothenextparticipant’snameandmovement.

PossibleReflectionQuestions:§ Whatemotionsdidyouexperienceduringtheactivity?§ Whatdidyounoticebythebehaviorandmovementsofothers?§ Whatfeelingsormovementsdidthegrouphaveincommon?Weredifferent?§ Canyouthinkofothernamegames?


Source:Unknown


ParticipantWelcomeExchangePurpose: Share greetings from participants’ communities of origin; establish anenvironmentofinterculturalacceptanceandexchange.Length:30minutes


AgeLevel:Alllevels

Materials/Props:Seebelow.

Preparation:Trainersmaymeetwiththeyouthparticipantsinadvanceofthecamptodecideuponagreetingandanytraditionaldress,instruments,ormusicthattheymightwishtobringforuseinthegreeting.

Approach:§ DivideparticipantsintoRegionalGroupsandinstructthemtocreateawelcome

orgreetingfromtheirareaoforigin.Thiscouldbeasong,adance,oratheatreexercisewhichtheycanuseto‘sayhello’totheirfellowparticipantsandtolearnalittlebitaboutoneanother.

§ Allow15minutes forparticipants torehearsetheirgreetingsandtodeterminehowtoteachtheirgreetingtotheotherRegionalGroups.

§ Askeachgrouptoperformtheirgreetingandshareitsmeaningwiththeothergroups. Invite them to teach the other participants how to participate in thegreetingandallowthemtorehearsetogether.

§ Endtheactivitywithwholegroupenactingeachofthegreetingstogether.Exampleofaregionalsongparticipantscouldshareasagreeting:Ashagulonisafolksongthatissungduringaritualceremonythatisconductedinthe springtime by residents of the mountainous regions of Tajikistan. It is theresidents’ address to the heavens so that rainwill fall. Much of themountainousland is not irrigated, somany sown plotswither and die in the springtimewhenthereislittleprecipitation.Becauseofthis,residentslooktotheskyandaskforrain.Theyplaceascarecrowamongtheplots.Theeldersandtheyoungbegintoplaythedoira drum and sing, circling around the scarecrow. The song begins with thefollowinglines:

Ashagulonirostina-e

Boronbiborboostina-e

Oneoftheparticipantssignsthemainverse,whiletheotherssingtheabovelinesasachorus.Whilesinging,everyonecirclesthescarecrow,playingthedoiradrumandthe dafe drum, as well as spoons and dishes. During the ritual, one of theparticipantsisalwayspouringwateronthescarecrow.


To use Ashagulon as a greeting, a group can adapt the exercise by placing half theparticipants in the middle of the circle, representing the scarecrow, as the otherparticipants circle around them singing Ashagulon. After one round is sung,participantsinthemiddleofthecirclecouldswitchwiththoseontheoutercircleandbeginagain.

PossibleReflectionQuestions:§ Whathappened?§ Whatweresomeofthesimilaritiesanddifferences?§ Howcouldyouadaptsomeofthegreetingstobewarmupexercises?


SayingaWordPurpose:Trainparticipants’useofexpressionandemotion.

Length:30minutes


AgeLevel:12andup

Approach:

§ Directparticipantstospreadaroundtheroom,facingyou.§ Tellparticipantsyouwouldlikethemtorepeataphrasewhilewalkingaround

the room: “I’m not fearful.” Start by allowing the group to walk and practicesayingthephraseinaneutraltoneofvoice.

§ Now announce that participants should continue walking and repeating thisphrase as if they are very angry. Demonstrate and/or coach participants toembody the emotion of anger in their voices, faces, movements, and bodylanguageastheywalkandrepeatthephrase.

§ After participants have become accustomed to embodying an emotion whilerepeatingaphrase,continuetocalloutnewemotionsforparticipantstoembodywhile repeating “I’mnot fearful” - for example, sarcastic,mocking,happy, sad,persuading.Chooseoneatatimeandgivetheparticipantsaminutetoembodythedirectedemotionbeforeyoumovetothenext.

§ Youcanalsovarythephrasesparticipantsareinstructedtorepeat:‘Youaretheproblem!’‘Whatareyoudoinghere?’‘Whycan’tI?’‘Leavemealone!’Continuetocall out various emotions for the participants to embody with each of thephrases.

§ Aftercallingoutafewphrases,asktheparticipantsgetintopairs.§ Asapair,directparticipants todecideontheuseof twoof thephrases for the

development of amini-scene. Theymust create their own scene based on thetwo phrases. Who are their characters? Where are they? What created theconflict?Eachmini-sceneshouldhaveaclearbeginning,middle,andend.

SideCoaching:Tospeeduptheexercise,youmightpassoutpre-writtenphrasesfor the scene development to the pairs rather than asking them to choose thephrasesthemselves.Example:a)Whatareyoudoinghere?b)Idon’tcareanymore,c)Irememberwhen…Theparticipantswillneedtocreatedialoguesusingthephrases,developingastorywithmovementandcharacterizationandaclearbeginning,middleandend.PossibleReflectionQuestions:

§ Whatwasthestoryline?§ Howwasmovementusedtotellthestory?§ Wasthereaclearbeginning,middle,andend?


Source:Unknown


Sounder/MoverPurpose:Buildtrustandtowarmupparticipants’voicesandbodies.

Length:10minutes


AgeLevel:AllLevels


Approach:§ Divide participants into pairs. One personwill be the sounder, the other the

mover.§ Thesounderwillbeginmakingsounds–anysoundsheorshelikes–tocreatea

“soundscape,”exploringdifferentqualitiesandtexturesofsound.Forexample,chirpinglikeabird,makingfastorslowrhythmicsounds,etc.

§ The mover improvises movement to his partner’s “soundscape,” using all ofhis/herbody,differentlevelsincludingthefloor,etc.

§ Afterseveralminutes,themoverandsounderswitchroles.

Source:HannahFox,PlaybackTheatre


SpacePurpose:Tohelpparticipantsgainawarenessofthephysicalspaceintheroomandinterpersonal space between one another, establishing spatial and grouprelationships.Length:15minutes


AgeLevel:12andup


Approach:§ Ask participants to walk around the room, making eye contact with other

participantsastheymove(asthefacilitator,youshouldparticipateaswell).§ Asparticipantswalkaroundthespace,calloutquestionsorstatementstoraise

theirawarenessabouttheirsurroundings,forexample:o “Movearoundtheroom,andnoticethecolorsorshapesintheroom.”o “Loosenanymuscles,movebackwardsorforwards,upordown.”o “Feelthespace,isithotorcold?”o “Findaplaceintheroomthatyoulike.”o “Findaplaceintheroomthatyoudon’tlike.”

§ Invitetheparticipantstoplaywiththespace.Examples:o Asktheparticipantstothinkofthefloorasashipandtobalancethe

weight of the ship by making sure that each participant remainsequidistant fromone another (i.e. not flipping the ship by crowdingtogetherononeside).

o Calloutnumbersandinstructtheparticipantstocreategroupsofthatnumber. For example, call out the number three, signaling thatparticipants must instantly form groups of three and continue tomovearoundthespaceasatriad.Indoingso,theyshouldcontinuetocoveringasmuchoftheflooraspossibleandbalancethefloorspacebetweenothergroupsuntilanothernumberiscalled.

§ Callfortheparticipantstofreeze,andcommentonwhetherornotthespacehasbeenfilled,orwhetherthegroupiseffectivelyworkingtogether.Forexample,ifyou are using the ship variation, notewhether participants are cooperating to“balancetheship.”

§ Endtheexerciseoncethegroupseemstobeeffectively listeningandwatchingoneanother, and theirbodiesaregenerallyworkingasaunit to cover the fullareaoftheroom.

Side Coaching:Playwithdifferentmovement styles suchasmoving fastor slow,alsousingdifferentlevelssuchashigh(stretchingtowardsthesky)orlow(closetothe ground). Point out various elements of the room such as colours, lighting,shapes,orsizesinordertomakeparticipantsmoreawareoftheirsurroundings.



§ Whatdidyouexperienceduringtheactivity?§ Howdoyoufeel?§ Wheredidyoufeelmostcomfortableorleastcomfortable?§ Wasiteasyordifficulttogetintogroups?Why?

Source:Unknown


SpitfireCannonPurpose:Toillustrateteamwork,bodycontrol,andfocus.Length:15minutesNumberofParticipants:5ormore

AgeLevel:8andup


Approach:

§ Askparticipantstostandinacircle.§ Illustrateamovementandasound(ex:largehandwave).§ Direct themovementandsound(thecanon)tomovearoundthecirclequickly

(e.g.likea‘wave’atasportingevent).§ Afterthemovementandsoundreturnsbacktoitsoriginator,directtheperson

totheirlefttostartthe‘canon’againwithanewmovementandsound.Oncetheactivity begins, the movements and sounds should be continuous, withoutpausingbetweenthestopandfinish.

Side Coaching: At the beginning of this exercise, you may wish to stand in themiddle of the circle, pointing momentarily at each person as a prompt for themovementandsoundtotravelquicklyaroundthecircle.


§ Whathappenedtothemovementandsound?§ Aretherewaystoimprovethecoordinationbetweenmovements?§ Howcanweworkbetterasagroup?§ Whatistheaimorfocusoftheexercise?

Source:Unknown


Yes,Let’s!Purpose:Tobuildenthusiasm,groupdynamics,andpracticephysicaltheater.

Length:15minutes


AgeLevel:8andup


Approach:

§ Instructparticipantswalkaroundtheroomwithouttalking.§ Designateaplaceintheroomfromwhichsuggestionscanbemade.§ Encourage participants to move to this spot and offer a suggestion, such as,

“Let’spretendthatwearewalkingonthemoon!”§ Directthegrouptorespond,inunison,“Yes,let’s!”andimmediatelyactoutthe

suggestion.§ After aminute or two, encourage another participant to go to the “suggestion

spot.” When the group sees someone in that spot, everyone should freeze inwhateverposetheyareinandwaittohearthenextsuggestion.Example:Anewparticipantsuggests,“Let’spretendthatwearemeltingicecreamconesonahotsummerday!”Thegroupresponds,“Yes,let’s!”andactsasiftheyaremeltingicecreamcones.

§ Continue the exercise for several variations. End the game by going to thesuggestionspotandstating,“Let’sendthisgame!”

Source:HannahFox


Chapter 7 - Lead-in Activities

AcrosstheRoomPurpose: To learn about the diversity of the group and identify issues to beexploredthroughfurthertheaterwork.

Length:30minutes


AgeLevel:12andup

Materials/Props:Signsthatsay“Yes,”“No”and“Maybe”(Optional)

Approach:§ Askparticipantstostandagainstonewall.§ State that the space spread across the floor, fromone end of the room to the

other,islikeabarometer. Explainthatyouwillbeaskingthegroupquestions,and that each area of the room is associated with the responses YES, NO, orMAYBE.(Theseareasmaybemarkedwithsigns,ifavailable.)

§ Ask the participants to respond to statements you make by standing in thesectionoftheroomthattheyfeelisbestassociatedwiththeirresponse.Examples:

Youngpeopleshouldassertpower

Mycommunityissegregatedbyreligion

Iunderstandwhypeopleareinvolvedinviolence

Iseediscriminationinmycommunity

Ifeelthatwomenandmenaretreatedequally

§ Participants move to the areas of the room identified with their YES, NO orMAYBEresponsetothestatements.

§ Askparticipantswhytheyhaveselectedtostandwheretheyare.

Side Coaching:Thequestionsshouldbeadjustedtoreflect thesocialcontextandneedsoftheparticipantgroup.Dependingonwhenthisactivityisheldinrelationtoother exercises, youmaywish to incorporate themes or issuesof debate into theexercisetostimulatefurtherdialogue.



§ Whathappened?§ Whatdidyounoticeaboutwherepeoplewerestanding?§ WhatdiditfeelliketostandintheYES/NO/MAYBEareasforsomequestions?§ Aretherecontroversialtopicsorstrongdifferencesinopinionwithinthegroup?

What are they? What themes should be carried further for discussion inupcomingexercises?

§ Howwouldyouadaptthisexercisetogeneratemorethemesorstimulatedebateanddialogue?

Source:Unknown


BigWindBlowsPurpose:Tobringupsimilaritiesanddifferencesinthegroup;toallowparticipantstoexploreinterestsandthemesforfurthertheaterwork.

Length:20minutes


AgeLevel:Alllevels

Materials/Props:Chairs(enoughforallparticipants,minusonechair)

Approach:§ Directparticipants toarrange the chairsandsit ina circle, leavingoneperson

withoutachair(initially,thisshouldbeyouoranotherfacilitator).§ Asapersonwithoutachair,standinthemiddleofthecircle.Makeastatement

abouttheyourselfusingthefollowingformat:“The Big Wind Blows for anyone that _ [fill in a true statement aboutyourself].”

Examples:

TheBigWindBlowsforanyonethathasmorethanfivebrothersorsisters

TheBigWindBlowsforanyonethatlikeschocolate

TheBigWindBlowsforanyonethatspeaksmorethanthreelanguages

§ After making your statement, anyone sitting in the circle that shares thisexperience(i.e.anyoneforwhomthestatementisalsotrue)mustgetoutoftheirchairsandmovetoanewseat.Participantscannotreturntotheseat they justvacated.

§ Anewpersonwillbeleftwithoutachair,andtheymakeanewstatement:“TheBigWind Blows for anyone that…”. Again, anyone that shares the experiencemustgetoutofhis/herchairandmovetoanewseat.

§ Repeat.

Side Coaching:Youmaywish toalter the instructions ifneeded.Forexample, toensurethateveryonewhoissupposedtoleavetheirseatisparticipating,youmightaskstudentstostartwithstatementsbasedonvisiblecharacteristics(“Thebigwindblows for anyone that is wearing tennis shoes/has short hair/is wearing black”)before moving to questions based on non-visible characteristics. Encouragestudents to focus on questions that avoid unnecessary exclusion of others in thegroup, such as questions that delineate socio-economic class etc (“The big windblowsforanyonethathasbeenonvacationabroad.”)


The exercise may also be conducted in three or more rounds, becomingincrementally more personal. The initial round may cover visible characteristics(clothing,hairstyles,etc.),thesecondroundlikes/preferences(“TheBigWindblowsforanyonethatlikestoread,”etc.),andthethirdroundcoveringfamilyoranothertopic(“TheBigWindblowsforanyonewithtwobrothers,”etc.).PossibleReflectionQuestions:§ Whathappenedintheexercise?Howdoyoufeel?§ Whatdidyounoticeorlearnaboutthegroup?§ Are there any other questions that you thinkwould be interesting to find out

aboutothers?Arethereanythemesemerging?§ Howmightyouadaptthisexerciseforusewithinaschoolcurriculum?Source:Unknown


CharacterWalkPurpose:Topracticeembodyingdifferentcharactersthroughphysicality.Length:30minutesNumberofParticipants:5ormore

AgeLevel:8andup


Approach:§ Prompttheparticipantstoformacircleandwalkclockwise.§ Warm up the participants by calling out different parts of the body that

participants should use to lead their movements. For example, instructparticipants towalk leadingtheirmovementswith the forehead, the chest, thehips,theknees,thenbackuptothehips,thechestandtheforehead,etc.Allowafewmomentsforeach.

§ After theparticipantsarewarmedup, calloutvarious charactersanddescribehowtheymayleadwithdifferentpartsoftheirbodies:Forexample,demonstratethewalkofanolderperson,wholeadswithhisorherlower body, holds his or her chin forward, and carries a cane. Invite theparticipants topractice theirownembodimentof this characterwhilewalkingaround the room. After a fewmoments, introduce new characters and inviteparticipantstoembodythem,allowingafewmomentsforeach:Oldperson (lowerbody,chinforward,carriescane)Soldier (chestforward,armsouttoeitherside,largebasestance)Hero/Heroine (heartforward,lightsteps,armswhippingtheairasifinlove)Thief (moveswithelbowforwardas ifhidinggoodsbehindhis/her

cloak,stealthydiagonalmovements)Side Coaching: Remind participants that these characterizations should beexaggerated,asiftheyarecartooncharacters.Askparticipantsforotherexamplesofcharactersintheircommunitythattheycanactout.Source:Unknown


Dr.TanglesPurpose:Tobuildtrustandteamwork.Length:30minutesNumberofParticipants:5ormore;nomorethan15inagroup.

AgeLevel:8andup

Materials/Props:N/A

Approach:

§ Asktheparticipantstostandinacircle.§ Introducetheexercisebystatingthatparticipantswillcreateahumanknotwith

their bodies, and two participants in each group will be selected, one asDr.TanglesandtheotherasKnotDirector.

§ DirectDr.Tanglestostepoutsideoftheroomuntilcalledback.§ Instruct all participants in a group to stand and join hands in a circle. Explain

thatparticipantscannotletgooftheirpartners’handsthroughouttheexercise.§ AsktheKnotDirectortoinstructparticipantstotraveloverorunderthehands

ofgroupmembersnexttothem,asifmakingaknot.§ After thehumanknothasbeensufficiently tangled, tell thewholegrouptocall

out,“DrTanglesWeNeedHelp!”§ Dr.Tangleswillre-enter theroomandgive instructions for theparticipants to

unravelthemselves.Again,theparticipantsmustnotletgoofthehandsoftheirfellowparticipants.RepeatwithnewDrTanglesandKnotDirector.

Source:AdaptationofAugustoBoal’sCircleofKnotsexercise.

SideCoaching:Atthebeginningoftheexercise,letparticipantsknowthattheywillbeputintodifficultpositionsasagroup,andtobecarefulwithoneanother’sbodies.Dependingontheculturalnormsandpreferencesofthegroups,separatecirclesofmaleandfemaleparticipantsmaybeformed.

Anadaptationofthisexerciseistoaskallparticipantstostandcloselytogetherandgrasp the hand of another participant with each hand; all participants should belinkedtotwootherparticipants,andnooneshouldbeleftwithafreehand. ThendirectthegrouptountanglethemselveswithoutthehelpofaDr.TanglesandKnotDirector. This adaptation focuses on team-building and cooperation, while theversionwith Dr. Tangles and Knot Director can allow for further development ofgivingdirectionsandleadership.


Elephant/Tree/BoatPurpose:Tointroduceparticipantstoimagetheatre.

Length:20minutes


AgeLevel:12andup


Approach:§ Askparticipantstostandinacircle,withonepersonstandinginthemiddle.§ Explainthattherearethreemainimagesthegroupwillmakewiththeirbodies:

elephant,tree,andboat.§ Practicetheelephantimage:directthepersoninthemiddletopointatsomeone

and calls out elephant. The person they point towards must pantomime anelephanttrunkwithhis/herarms.Theparticipantsoneithersideoftheelephanttrunkwillcreatethe imageofelephantearsbycreatingtheshapeofearswiththeirarms,attachingthemtothetrunkbystandingasatrio.

§ Rehearsethisseveraltimes,pointingtodifferentpeopleinthecircleandcallingout“Elephant.”

§ Practicetheboatimage:directthepersoninthemiddletopointatsomeoneinthecircleandsay“boat.”Thispersonmustcreatetheimageofasailorholdingatelescope,lookingouttosea.Personsoneithersideofthesailorwouldbegintorow,creatingtheimageofthreesailorsatseainaboat.

§ Rehearsetheboatimageseveraltimes.§ Practicethetreeimage:askthepersoninthemiddletopointatparticipantand

call out “tree.” This personmustmake the image of a tree, holding their armsoutstretchedabovetheirheadlikeapalmtree.Theparticipantsoneithersideofthistreecanpretendtoclimbthetreeforcoconuts.

§ Rehearsethetreeimageseveraltimes.§ Afterthewholegrouphaslearnedtheresponsestoelephant,tree,andboat,the

person in the middle of the circle may call out any of the words, point to aparticipant.Thatpersonandthetwoparticipantsstandingoneithersideshouldrespondimmediatelybymakingtheimage.

§ Challenge the participants to create the image within three seconds. If aparticipantdoesn’tcreatetheirpartoftheappropriateimagewithinthisspanof3 seconds or if they create thewrong image, theymust take the place of thepersoninthecenterandbegincallingoutelephant,tree,andboatandpointingtoparticipantsinthecircle.

Side Coaching: If the group is multi-national/cultural, consider using variouslanguages that represent the different cultures or nationalities involved in theworkshopinordertoensurefairness.


PossibleReflectionQuestions:§ Whathappened?§ Howdidothersreacttotheexercise?§ Whatcouldmaketheexercisemoredifficultorsimple?§ Whatdoestheexercisedemonstrateaboutcreating images?What isnecessary

tocreateanimage?§ How would you want to adapt the exercise to incorporate the landscape or

vocation of the region? For example, participants in Tajikistan created three-personimagesoftheapricotandcottonharvestsintheirregions.(Middlepersonpickingcotton,onepersontothesidecarryingalargebagandthethirdweighingthepickedcotton.)

Source:Unknown


ExpertandTranslatorPurpose:Toprovidetrainingandbuildconfidenceinimprovisation.Length:10-15minutes


AgeLevel:Alllevels


Approach:§ Ask for twovolunteers. Onepersonwillbe the “expert” and theotherperson

willbethe“translator.”§ The expert is given a lecture title. Solicit group input on the title – it can be

anything, and as outlandish as the group would like. Example: “KnittingCucumbers.”

§ Theexpertimmediatelystartshis/herimprovisedlectureonthetopic,butinamade-up, expressive language (i.e. not using real words that anyone elseunderstands). The translator must simultaneously interpret for the audiencewhattheexpertissaying.(i.e.makeitup!)

§ Cycle through a few sets of participants, depending on how much time isavailable.

Side Coaching: This exercise is fun and pushes participants in both roles to becourageous.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Wasitdifficulttoimprovise?Whatwasdifficult?§ How could this exercise be used to develop scenes based on issues in your

community?Source:ViolaSpolin


Freeze!Purpose:Toprovidetraininginimprovisationandaudienceinterventions.


AgeLevel:8andup


Approach:§ Asktwoparticipantstoimproviseascenethatillustratesaplace,characters,and

anaction.§ Instructaudience-memberstocallout“freeze!”atanypointinwhichtheywould

liketoswapthemselvesintothesceneandtakethephysicalstanceofoneoftheactors.

§ Aftercallingout“freeze!” thepersonwho intervenedmustcreateanewscene,directly related to the physical position that he or she has taken on from thepreviousactor.

o Example:Twocharactersarewashingdisheswhiletalkingabouttheirrelationship.Anaudiencemembercallsout“freeze!”Theactorsinthescenefreezeandtheaudiencememberswapsplaceswithanactorinthescenewhohadbeenfrozeninthepositionofholdinganimaginedsoapy bowl. The intervening person begins a new scene, imaginingthat the soapybowl is a camera.Heor shebegins thenewscenebytaking pictures of the other actor, developing a scenario that takesplaceatamodelrunwayshow.Theactorstakeonthecharactersofaphotographer and a model, disputing legal issues concerningcopyrightlaws.

SideCoaching:Ensurethattheparticipantsinthescenestopmovingimmediatelywhen an audience member shouts out freeze; pay attention to the details of thephysical stance of the actor being swapped out. As a variation, you as facilitatormightcallout“freezeandre-do!”instructingtheactorstore-enactthecurrentsceneinanewstyle(ex.asasoapopera,amusical,awestern,etc.)orwithanewemotion(anger,love,resentment,jealousy,happiness,miseryetc.)Theperformersthenre-runthescenewiththatemotion.


§ Howdidyoufeelduringthisexercise?§ How could this exercise be used to develop scenes based on issues in your

community?


Source:Unknown


IWantPurpose:Tobuildtrust.Length:10minutesNumberofParticipants:2ormore

AgeLevel:8andup

Materials/Props:N/A

Approach:

§ Direct participants to lie in a circle on the ground with their heads pointingtowardsthecenter.

§ While standing outside the circle, call out an incomplete sentence: “I want…”Instructparticipantstofinishthesentencewithsomethingtheywantwhenitishis or her turn. Ex: the first designated participant will begin by saying“Chocolate!”Thepersontohisorherrightsays“Worldpeace.”

§ Continue clockwise around the circle until each person has completed thesentencewithawordorphrase.

§ After the last person has completed the sentence, call out a new unfinishedsentence,ex: “I’mafraidof…”,anddirect thegroupmemberstocompletethesentence.

§ Continuewithotherprompts.

SideCoaching:Encourageparticipantstofinishthesentenceasquicklyaspossiblewithout stopping to think. They should vocalize the first thought that comes intotheirhead.



InterrogationActivityPurpose:Tobuildfocus,concentration,andpersonalrisktaking.

Length:20minutes


AgeLevel:12andup

Materials/Props:Ping-pongorothersmallball.

Approach:

§ Askparticipantstositinacircle.§ Explain that a ping-pong ball will be passed around the circle whilemusic is

playing.§ Stop themusic, andask thepersonwho isholding theping-pongball to tell a

story,suchas“Tellastoryaboutwhatyoudidfromthetimethatyouwokeup,”or“Tellastoryaboutyourearliestmemory.”

§ Continuetoplaythegamebyplayingthemusic,passingtheping-pongball,andthenaskingaquestionofwhoeverisleftwiththeping-pongballoncethemusichasstopped.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Wasitdifficultoreasytoanswerthequestions?§ Whathaveyoulearnedaboutsharingpersonalstories?

Source:Unknown


Kabish/KabooPurpose: To practice theatre techniques including characterization, using levels,andteamwork.Length:30minutes


AgeLevel:8andup

Approach:§ Ask participants to form two lines facing each other, with equal numbers of

participantsineachline.§ Explain thebehaviorof three characters:giant,wizard, andelf.Thegiant is a

high-rangecharacter,withitshandsupoverits’head.Thewizardisamid-levelcharacter, with its hands extended forward as if shooting out magic from itsfingers. The elf is a low-range character, downon its hauncheswith its handsheldonitsheadlikeelfears.

§ Asktheparticipantstopracticeembodyingthesethreecharacters.§ Explainthat thegiantcandefeat thewizard, thewizardcandefeat theelf, and

theelfcandefeatthegiant.§ Direct the two opposing lines of participants to cluster and quietly determine

whethertheywillchoosetobegiants,wizards,orelves.§ After the groups have selected their characters, instruct each group to form a

parallellineseveralfeetawayfromthelineoftheothergroup.§ Directallparticipants topoundtheirright fists intotheir leftpalmswhile they

takeonestep forward,saying“KabishKaboo!”Participantsshouldrepeat thisactionthreetimestotal,takingonestepforwardeachtime.Onthethird“KabishKaboo!” the two linessuddenly takeon the shapeof the character theirgrouphaddecidedupon.

§ Direct the group that has defeated the less powerful character to chase thedefeatedgroupbacktotheirstartinglineandthenrepeattheexercise.

SideCoaching:Youmaycoachtheparticipantstousefacialexpressionsinordertobetter embody their characters. Prior to the start of the exercise, the participantscan also create their own characters based on examples from stories or films.However, these characters should still be divided into high, medium, and lowclassifications to determine which character can defeat which other character.Example: Warrior (high character), Healer (middle character), and Child (lowcharacter).


§ Whathappened?Whatdidyousee,feel,orhearduringtheexercise?


§ How did your group negotiate making decisions? Did your group make thedecisionsby consensusordidyou take turnsdecidingupon the character thatyouwoulduse?

§ How might you adapt this exercise to a story or well-known characters infairytales?

Source:Unknown


MachinePurpose:Touserhythm,sound,andmovement,andenhanceteamwork.

Length:20minutes


AgeLevel:AllLevels

Approach:§ Divideparticipantsintogroupsoffivememberseach.§ Coachthegroupstousetheir imaginationstodevelopamachineusingsounds

andgestures.Groupsshouldnotdecideonthenameorfunctionoftheirmachineinadvance,butallowtheir imaginarymachinetoevolveoverthecourseof theactivity.

§ Begintheactivitybydirectingonpersonineachgrouptostartstheirmachinebymakingaphysicalmovementwithasound.Themovementshouldberepeatable,and theparticipant shouldbeable to continuemaking their chosenmovementandsoundforatleastafewminutes.

§ Afterthefirstpersonhassettherhythm,directasecondparticipantfromeachgroup to add to the machine with his/her ownmovement and sound. Theirmovementsandsoundsshouldaddontothemachineaspartofawhole.

§ Continueuntilallmembersofthegrouphaveaddedtheirmovementandsoundtomake themachine. The groupshoulduse asmuchof the space as possible,usingtheirwholebodies.

§ While each group continues to operate their machine, call out directions tochangespeedfromfasttoslow,ortoincludeemotionslike‘happymachine’.

§ Haveeachgrouptaketurns‘performing’theirmachinefortherestofthegroup.Askparticipantsfromothergroupstocreateatitleforeachgroup’smachineandtoimaginewhatfunctioneachmachinemighthave.

Side Coaching: Youmay suggest that participants add levels, low (down on theground)/medium/high(standingtallorjumpingtowardthesky)toaddvariationtothemachine.


§ Whathappened?§ Whatdidyounoticeaboutthesoundsandmovementtogether?§ Howdidgroupsworktogetherwellasanensemble?§ Whatmadeamachineinterestingtowatch?Whatweretheatricalelements?§ Howcanyouadaptthisexercise?§ Arethereotherexercisesthatyouwouldrecommendincludingfortheobjective

ofteambuilding?

Source:Unknown


MusicalDialoguePurpose:Toexplorepersonalfeedback/evaluationinpairs,andtodefinethemostuseful/challengingaspectsoftheworkshop.Sequencing: Inadditiontoitsusagehereasalead-inactivity,MusicalDialoguecanalsobeusedasaclosingexercisetohelpagroupprocessanddiscussaprioractivityorworkshop. (See Side-Coaching formore a description of howMusicalDialoguewasusedtoprocesstheperiodbetweentwosummercampevents.)Length:20-60minutesNumberofParticipants:6ormore

AgeLevel:Alllevels

Materials/Props:Musicplayerandmusicrecordings(ormusicalinstruments,suchasadrum).

Approach:§ Begintheexercisebyplayingmusicinthebackground.§ Directparticipantstomovethroughthespace,andprovidecuestoaddvariation

(ex. “moveas fast/slowasyoucan,”“shakehandswithanyonethatyoumeet,”“makeeyecontactwitheveryoneintheroom”).

§ Afterafewintroductorycues,statethatassoonasyouturnoffthemusic,theymustjoinelbowswiththepersonnearesttothem.

§ When themusichas stoppedandparticipantshave createdpairs joinedat theelbow,provideaguidingquestion fordiscussion, suchas: “Whatwas themostusefulpartoftheworkshopforyou?”Allowthepairstotaketurnssharingtheirfeedbackwiththeirpartner.

§ Afterafewminutes,startthemusicagain.§ Stop the music again, and direct the participants to join kneecaps with the

personnearesttothem(notthesameastheirinitialpartner).§ Provideanotherguidingquestion,suchas:“Whatwasahappymomentforyou

inthepastyear?”Allowthepairstotaketurnssharingtheirfeedback.§ Afterafewminutes,playthemusicagain.§ Repeat this exercisewithnewpartneringposes (ex.back toback, foot to foot)

and new guiding questions (ex. “Whatwas a sadmoment for you in the pastyear?”)

§ Afterafewminutes,askthegrouptositinalargecircleandsharesomeoftheirresponsestothequestions.

SideCoaching:Youmayadjustthisexercisetoutilizewhateverbodypartsaremostappropriate to touch in the local cultural context. If touching is not appropriate,participantsmaysimplystandnexttoapartnerwhenthemusicstops.


Questionsmaybeadjustedtomeetanyevaluativeneed.Forexample, thisactivitycan be altered for use as a discussion tool regarding research or activitiesparticipantsmay have conducted between camp events. Questions for partner orlargegroupdiscussioncouldincludethefollowing,butshouldbebasedonanytasksassignedtotheparticipants:

§ What information did you discover about community issues in your region?Whatwere the primary community issues/concerns voiced by people in yourregion?

§ WhatskillsdidyouusebetweenCamp1andCamp2?Didyoupracticeusinganyoftheexercisesfromthecampmanual?Whatwasthatexperiencelike?

§ What ideas did you have about how you might like to use DCT in yourcommunity?What future projects do you envision for your community?Whowouldneedtobeinvolved?Wherewouldyouliketoperform?


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatweresomeofthekeyuseful/challengingaspectsofthisactivity?§ Howmightyouadaptthisexercise?Whatfurtherquestionsmightyouincludein

MusicalDialogue?Source:Unknown


“No,youdidn’t”Purpose:Toprovidetraininginimprovisationanddevelopimaginationskills.Sequencing:Thisexerciseisbestwhenparticipantsarealreadyfamiliarwitheachother;newgroupsmayfeelinhibitedbynotbeing‘cleverenough’tothinkofanewdirectionforthestory.Length:10minutes


AgeLevel:Alllevels


Approach:

§ Directparticipantswork inpairsand todecidewhowillbepersonAandwhowillbepersonB.

§ InstructPersonAtobegintellingastory,fictionalorreal.§ Tell PersonB to interrupt Person A at any point and say, “No, you didn’t,” at

which point A must agree and corrects him or herself and come up with adifferentdirectionforthestory’splotline.Forexample:A:IwasborninavillagenearKhujandandlivedthereuntilIwassixteenyearsold.B:No,youdidn’t.A:Oh,you’reright.IlivedthereuntilIwaseighteenyearsold.ThenIwenttotheteachertrainingcollegeinthecity.B:No,youdidn’t.A:Oh,that’sright.Iwastrainingtobecomeacircusperformer,notateacher.Myspecialtywaslion-taming…etc.

§ AskPersonAandPersonBtoswitchrolesafterafewminutes.Side Coaching: Remind participants to stay open to the constant shifting of thestory.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Wasithardtochangeyourstorywhenyouwereinterrupted?Whyorwhynot?

Source:TheGeeseTheatreHandbook:Dramawithoffendersandpeopleatrisk,ClarkBaim,SallyBrookes,AlunMountford


Sculptor/ClayPurpose:Tocreatefrozenimages(ImageTheater).

Length:15minutesNumberofParticipants:Fourormore.

AgeLevel:Alllevels

Materials/Props:N/A

Approach:§ Divide participants into pairs and ask them to determine who will be the

“sculptor”andwhowillbethe“clay.”§ Demonstrate this activity with another facilitator or a volunteer. The “clay”

shouldactaslimpasarag,readytobemoldedasclayintoanyobjectorimage.The“sculptor”canusehisorherhandstosculpt the“clay”partner’sbody intoan intended image. If thetouching isnotpreferred, thesculptorcanusehisorherownbody to illustratehow the clay shouldholdhisorherbodyandwhatkind of expression the clay should have. The exercise should be conducted insilence.

§ Calloutawordpromptanddirectthesculptorstosculpttheclayintothatimage(ex:athlete,farmanimal,etc.).

§ Aftera fewminutes, tell thesculptors to finishtheirsculpturesandtheclaytostayfrozenintheformtheyhavebeenshapedinto.

§ Allow the sculptors to “tour the gallery” andwalk around the roombriefly toobserve the ways other sculptors have interpreted the prompt. Permit eachsculptortotellthestorybehindtheirworkofart.

§ Askthepartnerstoswitchroles.

SideCoaching:Insteadofusingaprompt,youcouldalsoaskthesculptorstoshapetheclayintowhateverexpressiveposetheywouldlikeandcreateastorybasedonwhatthesculpturerepresents.

Source:Unknown


SpectrogramPurpose: Tomeasure participants’ feelings, beliefs, experience, or comfortwith acertaintopic;allowgroupmemberstobegintoseewherethey fit inanddiscoverconnectionswith other groupmembers; allow the group leader to diagnosewhatthegroupmightneedintheworkshop.Sequencing:Spectrogramsareusefulinhelpinganewgrouplearnabouteachotheratthebeginningofaworkshop,aswellasdebriefingattheendofanexercise(usedasaClosingExercise).Theyalsoprovideaneasywaytoconducta ‘pre’and ‘post’testforagroup.

Length:30minutes


AgeLevel:Alllevels

Materials/Props:N/A

Approach:§ Directparticipantstostandononesideoftheroomagainstawall.§ Askparticipantstopretendthereisanimaginarylinerunningdownthecenter

of the room that they can use to display their responses to questions (thespectrogram).Oneendoftheroomisassociatedwithhighresponse(10)andtheoppositeendisassociatedwithlowresponse(1).

§ Afteraskingtheparticipantsaquestion,inviteparticipantstothinkaboutwherealong the spectrum they would physically place themselves in response. Askthemtoraisetheirhandswhentheyhavemadeadecision.

§ Onceeveryone’shand israised,participantsshouldplacethemselvesalongthespectrogramaccordingtothenumberthatbestindicatestheirresponse.

Examples:§ How familiar are you with using Theatre? (10 very comfortable, 1 not

comfortable)§ How comfortable do you feel leading an exercise or activity? (10 very

comfortable,1notcomfortable)§ How knowledgeable are you about some of the conflicts or problems in your

community?(10verycomfortable,1notcomfortable)§ Invitesomeparticipants tosharetheirreasonforstanding in thepositionthey

choseandfacilitateadiscussionusingsomeofthereflectionquestionsbelow.Side Coaching: It’s important for group members to know that none of thesepositions are neutral. Each one of them involves a decision and value judgment.Therearenoabsolutelyrightorwronganswers,justopportunitiestoclarifyvalues


andunderstandoneanothermoredeeply.Taketimetoprocessthereasonsbehindeachperson’splacementontheline.Spectrogramsareaformofsocialmeasurement;anythingthatcanbemeasuredcanbemadeintoaspectrogram.Theyprovideagreatwaytomeasurechangethathasoccurred.Youmayfindthatpeoplebegintochangetheirpositionsasthediscussioncontinues.PossibleReflectionQuestions:§ Whatdoesthenumberthatyou’veselectedmeantoyou?§ Whatledyoutostandatthisplaceintheline?§ Whatdiditfeelliketostandwhereyoudidtoanswertosomeofthequestions?§ Whatdidyounoticeaboutwhereotherpeoplewerestanding?§ Forthosestandingoneitherendofthespectrum,doyouhaveanyquestionsthat

you’d liketoasksomeonestandingontheotherendof thespectrum?Is thereanythingyou’dliketheotherendtoknowaboutyourposition?

§ Whatdidyounoticeorlearnabout thegroupfromthewaypeopledistributedthemselvesalongthespectrogram?

§ Howmight you use or adapt this exercise during the summer camp? Atwhatpointinaworkshopmightyouusethisexercise?Whenwouldyounotusethisexercise?Whyorwhynot?

Source:LindaCondon


Whatareyoudoing?Purpose:Toprovidetraininginimprovisation


AgeLevel:8andup


Approach:§ Dividetheparticipantsintopairs.§ Instructonemember of each pair to begin bymaking amovement. The other

partnershouldthenask‘Whatareyoudoing?’§ Explainthatthefirstpersonshouldrespondbystatinganothermovement–NOT

themovementthatheorsheiscurrentlyactingout,butratheramovementthatheorshewouldliketheotherpartnertodemonstrate.

§ Example:AbeginsbypretendingtowateraplantB:“Whatareyoudoing?”A:“Chasinganelephant”BactsoutchasinganelephantA:“Whatareyoudoing?”B:“Flyingtothemoon”Aactsoutflyingtothemoon

Side Coaching: Suggest that participants use full body movements and think ofextremeandcreativeideasfortheirpartnerstoactout.


§ Whathappened?§ Whatweresomeofthemostoutrageousideasthatyoucameupwith?§ Whathinderedyourcreativityorabilitytoparticipateintheexercise?§ Whathelpedyoutoparticipateintheexercise?

Source:Unknown


Chapter 8 - Main Activities

CommediaDellArteCharactersPurpose:Topracticecharacterwalks,embodyCommediaDellArtecharactersandreflectuponcharactersimilaritiesinthecommunity.Sequencing: Depending on time available and capacity of the translators (ifdelivering inmultiple languages), youmay prefer to use a simple characterwalkexercise or to use CommediaDell Arte Characters to reinforce previous characterwalkactivities.


AgeLevel:8andup


Approach:§ Theparticipantsstandinacircle.§ Thefacilitatorpromptstheparticipantstowalkinacircleclockwise.Atvarious

points, the facilitator will call out a different part of the body to ‘lead’ themovement.Asan example,demonstrateand instructparticipants to lead theirmovementwiththeforehead,thenthechest,thehips,theknees…andthenbackuptothehips,thechestandtheforehead.

§ Take a fewmoments in between each of the directions for the participants towalkwiththeparticularphysicalareaoffocus.

§ After the participants have practiced leading the body with various areas infocus,demonstratetheCommediaDellArtecharacters.

BackgroundofCommediaDellArte(fromJohnRudlin):

Arlecchino: servant to Pantalone, Capitano or Dottore Brighella: is stealthy and often characterized as a thief Pantolone: is old, wealthy, miserly, and thinks very highly of himself. Dottore: a physically large character, the doctor is a bachelor or widowed The Lovers: they are usually high status characters but their extreme love has made them oblivious of everything. Capitano: a foreigner who pretends to high status but has none: his exposure as an


imposter is central to the action. He exists to be exposed. Sobrette: is a female servant, and usually solves the problems in the play Zanni: is a male servant, and can only think of one thing – food! Arlecchino Character Walk: Balances on right foot, then balances on left foot; up and down as if about to be hit. Arlecchino is the clown/slave who gave the world slapstick comedy. He is either completely stupid, or has the wit and cunning of a seven year old brat. He is a master of disguise, extremely agile and acrobatic. He always enjoys what he sees- for him everything is a game. He does not think of the future and quickly forgets what is out of sight. He acts first and then thinks, if he thinks at all. Flinching is a second nature for Arlecchino, he is always watching out for blows. He moves in a zigzag skip, almost like a dance. Brighella Character Walk: Moves stealthily, with sharp edges like a knife. Right arm is bent in front of the face, as if holding a cape. Left foot is held at a sharp diagonal. As Brighella moves, on diagonals, either the right foot or the left foot is held at a sharp point while the front leg is bent. At any moment, Brighella may snatch something from a passerby, place behind the cape, and then innocently proclaim that he or she didn’t see anything. Brighella is the most disturbing character of the Commedia dell'Arte. Murder and theft are second nature to him, the dagger being a substitute for the slapstick. The audience accepts his evil and comic rascality because it is broad and aimed at his favorite enemy, the aristocracy. Brighella is a man of great charisma but no conscience. He is always on hand if there is intrigue afoot. He will attempt anything, no matter how unscrupulous, with ingenuity and wit. On the prowl, he has the grace of a tiger; when cornered, the cunning of a rat; and he possesses the skill and agility of a monkey. Capitano (Captain) Character Walk: Usually a soldier or military captain, the Capitano moves as if he or she is crushing mountains with each step. Chest is high, arms out to either side. Moves with right arm, right foot – left arm, left foot. When he or she moves, the foot is flexed and comes crashing down. The arms move with the movements of the foot, like swords to either side. This bombastic fellow is extravagant in his outward appearance, only to hide his poverty and insecurities. He is full of fanciful boasts about the men that he has cut and carved, and the fair hearts he has slain. He is vain about his supposed good looks and is convinced he can conquer any lady he chooses; but his pathetic cowardice is without limits. Even the slightest glimpse of Arlecchino with his slapstick sends the Captain into a frenzy of fear. The Captain struts boldly, chest out and head high, eager to show off his long legs and handsome figure. But when frightened, a run on the spot with arms and legs flapping is a common sight.


Dottore (Doctor) Character Walk: Head held high, body as straight and stiff as a pencil. Tiny steps, while pantomiming writing in a notepad various theories or formulas. Usually recites Latin or various kinds of gibberish to sound intelligent. The Doctor has dedicated his life to learning everything, but he understands nothing. The Doctor takes himself very seriously, meddling in everyone's business, forever prescribing and explaining. He is constantly misquoting classic quotations, and is fluent in his native tongue, either an obscure foreign language, or gibberish. With his "gift of the gab", the Doctor can talk his way out of any situation; much like a politician. This superficial character sways as he walks with short steps, symbolically affecting a daintiness that is not his. He shares some qualities with his good friend, Pantalone: he is old, easily falls victim to the pranks of his servants and wages countless, unsuccessful amorous adventures with young ladies. The Lovers Character Walk: Walk is a waltz, down/up/up, down/up/up with the feet, usually whipping the air with ones hands as if creating whipped cream out of the clouds. Hands usually come from the heart and back again into a whipping motion. Their sole purpose is to be in love. These youthful, sentimental, scheming and handsome couples are experts in the art of courtship and are prolific writers of sonnets. They love and despair. Pantalone Character Walk: Body is bent over the knees, chin held forward. Left hand covers waist, as if protecting a money belt. Right hand pantomimes holding a cane. Tiny steps forward, chin leading forward, occasionally holding up cane to threaten anyone who might take his or her money. He is portrayed either as a bachelor, constantly making a fool of himself with young girls; or as a married man with a grown family, trying to marry his daughter to a man of wealth, yet without providing her with a dowry. Pantalone is cheap, ridiculous and gullible. So sensitive to the value of money, he is an abject slave to it. But no matter how careful he is with his purse, he can easily be duped, particularly by his servant who, more often than not, is Arlecchino. Despite his anger and frustrations, Pantalone is a peace loving man with a gentle heart who could never bring himself to kill anyone. Although Pantalone is arthritic and his body is stooped with age, he can still display baffling outbreaks of agility induced by his fury. A ridiculous back fall is his reaction to bad news. He takes his pratfalls with all the vigor of youth and then immediately returns to the posture of old age with asthmatic panting. Zanni Character Walk: Stomach is held forward, and right hand supports the back. The Zanni lumbers forward, stomach leading, taking short steps to keep up with the stomach.


Zanni is very easily recognizable. His physical appearance began with a broad hump on his shoulder and a potbelly. As his character evolved so did the hump, until he was doubly humped, with an extended belly to balance his carriage. Zanni is well known for his bizarrely paced, bent, rooster-like gait and hen-like voice.


§ Intermsofthecharactersthatyou’vedevelopedforyourforumtheatremodels,whatcharactersfromCommediaDellArtemightyouuseforyourforumtheatre?

§ Howdothecharactersmove?Whatistheirmotivationasacharacter?Whatdotheywant?

§ Aretherecharactersyourecognizefromyourcommunity?

Side Coaching: Could ask the participants to suggest key characters from theircommunity.Howdotheywalk?Whichpartofthebodyleadsthecharacter?Whatdotheywant?Whatistheirmotivation?Askparticipantstothinkofonecharacter,andtoexaggeratethewalkasifthecharacterwasacartooncharacter.

Source: Rudlin, John. Commedia dell'Arte: An Actor's Handbook.London:Routledge,1994.


DirectorSculptPurpose:§ To demonstrate how images can be used to further dialogue and discussion

amongstparticipantsbasedondifferingperspectivesandviewpoints.Sequencing: This exercise should be used after participants have had a basicintroduction to sculpting through Sculptor/Clay (pg. 68). If used after discussingconflict issues inObstacleTree (pg.91), the exercise can be used to create frozenimages in response to the issues identified by participants in Obstacle Tree.Alternately,youmayselect themes forDirectorSculpt froma listgeneratedbytheparticipantsasdescribedbelow.Length:60minutesNumberofParticipants:6ormore

AgeLevel:12andup

Approach:§ Provide an example of a conflict scenario. The facilitatormay use an example

fromhis/herownexperienceorplaceofresidence(Asanexample,theauthorofthemanualusedthecasestudyofRwanda.AlthoughRwandaisknownasapost-conflictzone,thereareregionalissuesconcerningethnicityandaccesstopower.ImageTheaterwasusedtodiscusssomeoftheregionalconcernswithgacaca,asystemofjusticeandreconciliationusedpost-genocide.AlthoughthepublicwasunabletovoicetheirconcernspubliclyinRwandaduetopossibleincrimination,images were used to illustrate some of the issues, such as illiteracy, distancefrompoliticaldecisionmakers,andfearofrevenge.)

§ As an example, sculpt participants into a still image in response to a relatedtheme, suchas “justice.”Forexample, youmaychoose to sculptoneperson inthe center of the image, standingwith handsheld to either side, like a justicescale.Asecondpersoncouldbesittingonthegroundwiththerighthandofthecenterpersononhishead.Athirdpersoncouldbesculptedstandingtotheleftof the center person,with the left hand of the person on his head. The imageresembles a scale, but theweight is tipped in favor of onedirection. The triomightalsobe sculpted toeachhaveahugesmile.To the side, a fourthpersoncouldbestandingonachairwitharmsfolded,lookingatthetrio.

§ Explain that participants in Rwandawere asked what they saw in the image.Someoftheresponsesincluded:imbalanceofpower,forcedreconciliation,andcontrolfromgovernment.

§ Next,askparticipantstothinkofissuesconcerningconflictintheirownregions(orrefertoissuespreviouslyidentifiedinObstacleTree).Someoftheresponses


may include: poverty, misunderstandings, lack of resources, political identitygroups,etc.Recordmainissuesontheflipchartandasthefacilitator,privatelyselect four main issues solicited from the participants for the Director Sculptexercise.

§ PlacetheparticipantsintoRegionalGroups.§ Assigneachmemberofthegroupanumber.(Example:1-4)§ Explainthatyouwillcalloutanumberandatheme.Thegroupmemberwiththe

correspondingnumberwillbetheSculptorinchargeofdirectingtheimage.Forexample:“Numberone,sculpttheimageforreconciliation.”

§ Using the methods presented in Sculptor/Clay (pg. 68), the sculptor in eachgroupwill sculpt the rest of the participants in his/her group, and then placehim/herselfintotheimage.Groupsshouldbeworkingsimultaneously.Whenallgroups are ready with a sculpted image, instruct them to remember theirpositionsintheirimages,and“unfreeze”allbutoneofthegroups.

§ Invite the group to look at and “read” the image held by the one remaininggroup. Ask participants what they observe in the image before allowing thegrouptodescribetheiraction.“Unfreeze”thisgroupandinvitetheothergroups,oneatatime,togobackintotheirfrozenimageforobservationandcommentbytheremainingparticipants.

§ Afterallgroupshavehadtheir images“read,”calloutadifferentnumber fromonetofour,andanewtheme.

§ The person in each groupwith that corresponding number should sculpt theotherparticipantsintoanimagethatrelatestothetheme.

§ Continueusinganumberwithathemeuntileachpersonhashadaturn.

SideCoaching:Youmaywishtogothroughallthesculpturesfirst(allowingeachmember of each group to sculpt an image) before focusing on the images forcomment.Inthiscase,remindparticipantstoremembertheirphysicalpositionsandexpressionsintheimage,sotheycanreturntoiteasilyandquicklyforpresentationpurposes.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdoyouseeintheimage?§ Whatarethecausesofconflictillustratedintheimage?§ Whoaresomeofthecharacters?Howdotheyrelatetooneanother?§ Ifyouweretodevelopascenefromthisimage,whatdoyouthinkishappening?

Whathappenedpriortothisimage?Whatwouldhappenfollowingthisimage?§ Howcouldyouchangeoneofthefiguresintheimagetoillustrategoingfromthe

‘real’imageofconflicttothe‘ideal’imageofpeace?§ Whatwasthesuggested intervention?Whatwouldreallyneedtohappenona

familial,community,orgovernmentlevelfortheinterventiontosucceed?

Source:AugustoBoal


EmotionCirclePurpose:Toidentifyandexpressvariousemotions.

Length:30minutes

NumberofParticipants:ideally5-10pergroup

AgeLevel:AllLevels

Materials/Props:Flipchartpaper(atleasttensheets)andmarkers.

Approach:§ Begin by asking participants to identify various emotions and to write one

emotionontoeachsheetofpaper.Someoftheemotionsmightinclude:Affection, Anger, Annoyance, Angst, Anxiety, Awe, Contempt, Curiosity,Depression, Desire, Despair, Disappointment,Disgust, Ecstasy, Empathy, Envy,Embarrassment, Euphoria, Fear, Frustration, Gratitude, Grief, Guilt, Happiness,Hatred,Hope,Horror,Hostility,Hysteria, Interest, Jealousy, Joy,Loathing,Love,Lust, Misery, Pity, Pride, Rage, Regret, Remorse, Sadness, Shame, Shyness,Sorrow,Suffering,Surprise,Wonder,Worry.

§ Explain that in Playback and Forum Theatre, participants will often need toexpresstheemotionsofothercharacters.

§ Setthesheetsofpaperonthefloorinacircle.Eachparticipantistostandonasheetofpaper.

§ Directparticipantstophysicalize,oractout,theemotionwrittenonthepieceofpapertheyarestandingonandtomakeonestatementbasedonthatemotion.Forexample,aparticipantstandingon“Shame”mighthanghisorherhead,drophisorhershoulders,andsayaphrasesuchas,“They’llneverforgiveme.”

§ Continueillustratingtheemotionsaroundthecircle,oneatatime,andhaveeachparticipanttakeaturn.Afteroneroundofemotions,directparticipantstomoveclockwiseand toactoutandexplore theemotionwrittenon thenextpieceofpapertheystandon.

Side Coaching: You may call out a specific phrase and ask each participant torepeat the phrasewhile embodying the emotion they are standing on (similar toSayingaWord,pg.42).Continuetheexerciseuntileachparticipanthasexploredthevariedemotions.Asanadaptation,thegroupcanbesplitintotwogroupsoffive.

Source:KyrgyzTrainersfromYouthTheaterforPeace


FluidSculpturePurpose: To engage students in active listening and in playing back the keyelementsofastory.

Length:25minutes


AgeLevel:AllLevels


Approach:§ Explain that fluid sculptures are one of the various forms from Playback

Theatre.Listeningtothestoryof theteller iskeyto thiskindof theater,as isnoticingtheirbodylanguage,intonation,andunderlyingemotionsormessages.

§ Explainthatyouwillactasconductorandwillmediatebetweenthetellerandtheperformers,whowillplaybackthestory.

§ Setupthestatewithfourchairssetinarowfacingtheaudience;thisiswherethe performers will sit. To the right, place two chairs set diagonally; this iswheretheconductorandtellerwillsit.

§ Invite four participants to join as performers, and ask them to sit in the fourchairsfacingtheaudience.

§ Instructtheperformerstositsilentlyanddisplayneutralemotion.§ Asconductor,sit in thechairsetdiagonallyontheright. Invitesomeone inthe

audience to share a short story, event or recollection of a moment whichcontains a strong emotion. Examples could include falling in love, losing one’sjob,birthingachild,etc.

§ Bring the audiencememberwho volunteers a story to sit at your right in theteller’schair.

§ Allow the teller to share his or her story. During the telling of the story, theperformers should listen attentively, noticing the hand gestures, facialexpressions,andemotionsoftheteller.

§ Afterthetellercompleteshis/herstory,youmayneedtoclarifywiththetellerwhichemotionshe/shefelt,orwhatmainaspectsofthestorytheywouldliketoseeperformed.

§ Afterthetellerhasfinishedsharinghis/herstory,say“Let’swatch!”§ Directtheperformerstostandupwithneutralemotions,handsattheirsides.§ Coachtheperformerstocreateakaleidoscopeofimagesandsoundsthatmirror

the feelings and thoughts of the teller. Each performer should represent adifferentaspectofthestory.Coachtheperformerstohighlightadifferentfeelingoremotionwhichwasexpressedthroughthetellingofthestory,notthelinearnarrativeofthestoryplotitself.ThephysicalityandtimingoftheexercisemaybesimilartoMachine(pg.64),exceptthatthemovementsoftheperformerswillbeinspiredbythestory.


o Example: A participant volunteers to share a story, moves to theteller’schairandrelatesherexcitementaboutlearninghowtodrive.After the story ends, the conductor states “Let’swatch!” One of theperformersstandsupandwalksa few feet in frontof the chairs.Hemakesanimageofadriver,repeatingthephrase‘thewholeworldisbeforeme.’ The second performerwalks up and sits on the groundbelowthedriver,throwinghandsandfeetdownonthefloorintotaljoychildlikeenthusiasm.Athirdperformerstandsonachairbehindthe driver posing with gestures of strength and power. The fourthactor enters the stage and repeats theword “wow,” as if he or shecannotbelieveitistrue.

§ After each performer enters the scene, they continue their movements andsoundsuntilallperformersconnecttheirsounds,movementsandemotionsinaunifiedway.

§ The performers will find a point in which their sounds and movements willnaturallycometoafreeze.Thewholefluidsculptureshouldbeinactionfornomorethanoneminute.

§ Afterthefreeze,instructtheperformerstoreturntotheirchairsandlookattheteller.Itisimportanttothankthetellerusingeyecontact.

§ Asconductor,shiftattentionbacktotheteller,asking,“Didyouseeelementsofyourstory?”andasktheaudienceandperformerstolistenasthetellerdescribesaspectsofthefluidsculpturethatmayhaveresonatedwithhis/herstory.

§ Rotate the roles of conductor, teller, performers and audience after eachstory.

Side Coaching: Continue to coach performers on active listening, capturing theemotionexpressedbytheteller,physicality,anduseofsymbol/imagery.


§ Whathappened?§ Whatdidyounoticeabouttheexercise?§ Whatisimportantaboutusingotherpeople’sstoriesinperformance?

Source:JonathanFoxandJoSalas,PlaybackTheatre


ForumTheaterPurpose:Tointroduceforumtheatre;developparticipants’theatreskillsincludingblocking, characterization, and script development; to link interactive theatremethodologywithcasestudyscenariosbasedonobstaclestopeace.Sequencing: This activity should be used after the group has developed skills tocreate“frozenimages”throughDirectorSculpt(pg.76)Length:2-3hours(maybedividedintoseveralsessions)Materials/Props:Variesaccordingtoneedsofeachscene

Approach:

1) StoryCircle

Purpose: To share personal stories related to a conflict or situations in which aparticipanttriedtoachievepeacebutencounteredobstaclesSequencing: This activity should be used after Three Image Story and FluidSculptures.Length:60minutes§ Divideparticipants intogroupsof five.Useregionalgroups ifyouwillbeusing

thestorycircleexerciseasaprecursortodevelopingForumTheatermodelsforuseinparticipants’homecommunities.

§ Directeachgrouptositinacircle.§ Beginthestorycirclebyaskingeach individual toshareasituationorstory in

whichheorshewastryingtoachieveagoal,andvariousobstaclesthatheorshefaced in trying to reach his or her goals. Encourage participants to sharepersonal stories of oppression from their lives. The stories should contain aprotagonistandparticularobstacles thathe/she faced intryingtoreachhisorhergoals.

§ Eachindividualshouldbeallowedtosharetheirstorywithoutinterruptionsorquestionsfromthegroup.Remindparticipantstointegrateactivelisteningskillsdeveloped in earlier exercises such asThree ImageStoryand FluidSculptures.Afterallparticipantsineachgrouphavesharedtheirstories,askeachindividualtocreateastill imagewiththeirbodiesthatrepresentstheprimaryobstacleintheirstory.

§ Alloweachparticipanttosharetheirstillimagewiththegroupandtogivetheirimageatitlethatexpressestheconcepttheywishtocommunicatethroughthatimage.

2) SelectinganImage:


§ Discussthedifferentthemesoftheimagesparticipantsshared.§ Askeachgrouptodecideononestorywhichtheyfeelbestrepresentsaproblem

that they as a groupwouldwant to explore, and brainstorm solutions to theproblem.

§ Explain that participants will use this story later and develop it into a forumtheatremodel.

§ Directthegroupstocreateastill imagethatincludesallmembersofthegroupwhich illustrates the main obstacles in their chosen story. Is the oppressionclearly illustrated? This image is the real image of the oppression and thesurroundingcircumstances.

§ Inviteeachgrouptopresenttheirselectedimagetotherestoftheparticipants.§ Question the audience. What do you see? What is the problem? What are

possiblesolutionstoresolvetheproblem?§ Requestthattheaudienceturntherealimageintoanidealimage.Oneatatime,

asktheparticipantstomakeonechangeintheimagebysculptingtherealintothe ideal. Use sculpting techniques from Sculptor/Clay (pg. 68) and DirectorSculpt(pg.76).

§ Pose questions to the audience: “What happened?” “What change occurred?”“Howcouldthischangehappeninreallife?”

§ After experimenting with the images of problems and potentialinterventions/solutions,thegroupsarereadytoworktheirimagetheatreintoaforumtheatremodel.

Side Coaching: As facilitator, you may wish to help participants feel morecomfortablebybeingthefirsttellastoryfromyourlifetothegroup.Ifinterruptionsduringstory-tellingbecomeaproblem,youmighttrytopassaroundatalkingstick,andexplainthatonlythepersonwiththestickisabletospeak.PossibleReflectionQuestions:

§ Whichstorymightbestrepresentproblemsfacedbyyourcommunity?§ What are possible interventions which could be staged to the proposed

problem?

3) IntroducingForumTheatre

§ Provideanoverviewofforumtheatreandtheprocessofdevelopingitsdifferentcomponents:

o Sharingstoriesbasedontheexperienceofoppressiono Selectingastorywhichwillbeusedastheforumtheatremodelo Developingfivefreezeframesbasedontheprimaryplotpointso Improvisingdialogueo Rehearsing a forum theatremodelwhich illustrates the story of the

protagonist tryingtoachievehis/hergoalsandthevariousobstacleshe/shefaces,endingwiththemomentofcrisis.


§ Explain that theparticipantswillbeginbyusing the story they selected in theStoryCircleexercisetodeveloptheirforumtheatremodel.4) FiveFreezeFrames

§ Askparticipantstowriteoutthestorylineoftheirforumtheatremodelandto

decideonfivemainplotpoints.§ Directthegroupstocreatefivestillimagesbasedonthesefivemainplotpoints.

Thestill imageshouldillustratethemainactioninthescene.Giveeachsceneatitle.

§ Ensurethattheparticipants’proposedstorylinesmeetthefollowingcriteria:o The story should illustrate problems/conflicts in the community

which the group would like to resolve through communityinterventions.

o Thereisroomforthecentralcharacter(theprotagonist)inthestoryto make decisions other than those he or she chose in the originalstory.

o Itshouldbeclearwhotheprotagonistis,whotheoppressoris,andwhattheobstaclesare.

o Thestoryshould includepossibleallies,orcharacterswhooffer thepossibilityofhelporhindrancetotheprotagonist,dependingonthewaytheyareapproached.

o The forum theatre model should end with a moment of crisis, inwhichtheprotagonistdoesnotreachhisorhergoals.

5) ThoughtTracking/Scripting

§ After each freeze frame has been developed, help participants introduce

dialoguebyutilizingthoughttrackingorscriptingtechniques:o Thought tracking: During each still image, tap the shoulder of the

frozen actor and instruct them to “thought track,” or respond bystatingaphraseorwordwhichrelatestowhatheorsheisfeelingorthinkinginthemomentinordertoexploretheinnermotivationanddialogueofeachstillimage.Dothisforeachofthefivestillimages.

o Scripting: If some characters in the story need more dialogue orcharacter development, use the scripting technique by placing yourhand above the head of the character and inviting the audience tosharewhattheythinkthecharactermightsay.

§ After thought tracking and scripting, direct each group to sit in a circle andreviewtheirforumtheatremodelbyaskingthefollowingquestions:

o Whatisthecentralidea?o Whatisthebasicscenario/story?o Who is the central oppressed person (central character or

protagonist)?Whatdoessheorhewant?o Whoisthemainoppressor?Whatdoesheorshewant?


o Whatistheconflictbetweenwhattheoppressorwantsandwhattheoppressedpersonwants?

o Whateventsoccurtopreventthecentralcharacterfromachievingorgettingwhatheorshewants?

o Arethereotherchoicesorpossibilitiesopentothecharacter?§ Help participants conduct casting for the story. Who will play the main

oppressedcharacter(protagonist),theoppressor(antagonist),allies?Thetellerofthestoryshouldnotplaytheroleofprotagonistinhisorherownstory.

§ Solicit volunteers to play the Joker, or select a participant yourself. AugustoBoaluses the term “joker” for the facilitator thatmovesbetween theaudienceandactorstomediateinterventionsinthestory.Thisparticipantwillnotbeabletoactasacharacterintheskit.Thejokershouldexhibitstrongfacilitationandmediationskills,aswellas theability tomanageagroup.More informationontheroleoftheJokerisprovidedbelow.6) Improvisation

§ Help the groups create five short scenes based on their still images, using

improvisation to create dialogue. They may wish to use the aforementionedtechniquesofthoughttrackingandscripting.

§ Ensurethatallof thecharactersareas fullydevelopedandhumanaspossible.Whatdotheywant,hope,andfear?Whatare theirstrengthsandweaknesses?Whataretheirinternalcontradictions?

§ Themodelshouldalsocontainseveralmomentsforpossible“interventions”bymembers of the audience.Where could spectators intervene in the storywithdifferentactions?Makesuretherearesomecharacterswhoarepotentialalliesfortheprotagonist.

Side Coaching: Depending on how each group is progressing, you may want toassign performance tasks to help deepen development and understanding of thecharacters.Examples:

• Interview:Instructthegrouptoaskoneactoratatimetoanswerquestionsabout their life in character (acting as their character). Ex: “What is yourname?” or “Are you married?” This exercise can deepen the actor’sunderstandingofhisorhercharacter.

• PlayingtotheDeaf:Directactorstoactoutasceneinfrontofanaudiencewithout speaking. The characters should notusemime or exaggerate theirgestures, but simply play the scene as though the sound has been turneddown.Afterwatchingthescene,asktheaudiencetore-tellthestoryastheyunderstoodit.Thiscanhelpactorsfindoutifanypartofthestoryisunclearwithoutwords.

• Stop & Think: It is important that the actors on stage know what theircharactersarethinkingatanygiventime.Instructthegrouptorehearsethescene in normalmode. At certainmoments, pause the actions and ask the


characters to speak aloud the thoughts and feelings they have withoutbreakingcharacter.

Analytical Rehearsal of Emotion:Askactors to rehearsea sceneusingonlyoneemotion(ex.love,sadness,etc.)evenifthisseemstocontradictthemeaningofthescene. Example: Rehearse a scene that depicts a lot of violence but instruct allcharacters to express love throughout the scene. This exercise helps the actorsdiscover subtle emotions present in the character, making the character morecomplexandreal.

7) IntroducingtheJokerinForumTheaterPurpose:Practicetheroleofthejoker.Length:75minMaterials/Props:JokerWorksheet.SeeAppendix.

Approach:§ IdentifytheparticipantwhowillactasJoker tomediatebetweentheaudience

andtheperformance.Either identifyan individual fromeachgroupwho isnotperforming otherwise, or choose one participant to act as joker for all of thevariousperformances.

§ ExplaintherolesthattheJokerwillplay:a)Attractingattentionoftheaudienceb)Buildingtrustandcommunitybetweenoneanotherc)Establishingrulesofengagementd)Facilitatinginterventionse)Closingtheperformance

§ Teach the joker about the activities they may conduct in the process of aperformance,asoutlinedbelow:

o Thejokermaywarmuptheaudiencewithaquickgameorexercise.o Atthebeginningoftheperformance,thejokerwillintroducetheskit,

statingthetitleoftheskitandforewarningtheaudiencethattheywillhave an opportunity to think of solutions to the problem beingdemonstratedinthestory.

o Thejokerprovidestheaudiencewiththeoverviewofforumtheatre,andthenmediatesaudienceinteraction.

o Followingtheperformance,thejokerwillasktheaudience:“Whatdidyou see?” “What happened?” “What are the causes of the conflict inthisplay?”“Whowastheprotagonist,ormaincharacterofthestory?”“Whowasthecharacterthatcreatedanobstacletopeaceinthestory(the antagonist)?” “Did you see any moments of where differentactionstohavecreatedadifferentoutcome(interventions)?”


o Thejokerfacilitatesdialoguewiththeaudience,promptingquestionsregarding possible interventions on a familial, community, andgovernmentlevel.

§ Emphasize that the Joker should not provide his or her own opinions to theaudience, nor moralize, but rather should facilitate audience contributionsthroughquestions.

§ GiveeachparticipantacopyoftheJokerWorksheet.SideCoaching:Iftheactorsknowoneanother’sroleswell,differentperformerscanrotate between playing the role of the joker and other characters in the ForumTheatreplay.Afterafewrehearsals,youmightchoosetopairupgroupsandalloweachgroupwithinthepairtotaketurnsperformingtheirforumtheatrepiecewhilethe other group plays the audience and stages interventions. This provides anopportunityforperformerstoreacttoaudienceinterventions,andforthejokerstorehearsetheirrolestructuringtheforumandmonitoringaudienceengagement.Asanadditionaltrainingexerciseindividualscould‘tagout’thejokeratvariousstagesiftheyhaveanotherideaofhowthejokercouldperformhis/herrole.

8) RehearsingandInterventions

Length:60+minApproach

§ Explain that each groupwill perform their forum theatremodel for the otherparticipants,butthattheactorsshouldbepreparedforaudienceinterventions.

§ First,allowonegrouptoperformtheirentireskitfrombeginningtoend.§ Followingafullillustrationofthemodel,instructthegrouptoperformtheskit

again,butasktheaudiencetomakeinterventionsbyyellingout“freeze!”atanymomentinwhichtheyfeeladifferentdecisionoractioncouldchangetheoveralloutcomeofthestoryandallowtheprotagonisttoachievehisorhergoal.

§ Encourage audience members to intervene by tapping on the shoulder of theprotagonist, taking the physical stance of that character, and then starting thesceneagainwithhisorherideasforintervention.

§ Urgetheothercharactersinthescenetotrytosticktotheiroriginalobjectivesin the plotline while the protagonist experiments with their ideas forintervention.However,actorsshouldavoidplayingtheirrolestoodogmatically–iftheactorintheantagonist’srolefeelshischaracterwouldbeconvincedbyanintervention,hecanrespondaccordingly.

§ Iftheinterventionisunsuccessful,orifthereisanotherpointintheskitinwhichan oppression could be overcome, allow other audience members to yell“freeze!”andtotaketheplaceoftheprotagonist.

§ Identify strategies for (a) the spect-actors who intervene, and (b) possiblereactionsbytheantagoniststothespect-actors’interventions.

§ Rehearse interventions. First, follow the instructions for beginning a forumtheatremodelasdirectedintheJokerWorksheet.Then,starttheforumtheatre


modelfromthebeginning.Atanypointinwhichanyoftheperformers/trainerswho are not in the scene thinks there could be an intervention, theywill yell‘freeze’ , stopping the action and taking the place of the protagonist to stagehis/herinterventionideas.

§ Invite participants to reflecton the intervention process: “Whatwere some oftheinterventions?”“Aretheyrealisticorfantasy?”“Whatwouldneedtohappenonafamilial,community,andgovernmentallevelforthedesiredoutcometobeachieved?”

SideCoaching:Duringrehearsal,experimentwithvariousstylesofperformance:§ Rehearse the forum theatremodel as a “fast through,” performing the skit as

quicklyaspossiblethroughthemovementsandtext.§ Rehearse the model as a “big through,” exaggerating all actions and

characterizationsasifpartofacartoon.§ Rehearse using various styles such as Opera, Rock Concert, Western, Silent

Movie,etc.Afterwards, decide if any of the variationsmight be suitable for the performance.Integrateanychangesintotheplay,rehearseandsolidifytheplanoftheskit.

9) SharingForumTheatre

Purpose:Presentforumtheatrepresentations,integratingaudiencefeedback.Length:Twoandahalfhours(maybebrokenintosegments)Materials/Props: Props vary according to each scene. The critical responsefeedbackchartshouldbewritteninadvanceonflipchartpaper.

Approach:§ Askeachforumtheatregrouptoperformtheirforumtheatremodelsfortherest

ofthegroup.§ Instruct trainers to facilitate feedback according toCriticalResponseFeedback

(pg.106).


MonologueWorkPurpose:Facilitatediscussiononthecausesofconflictthroughtheuseofrole-play.


AgeLevel:12andup

Materials/Props:Largenotepaper,Markers,Sheetpaper,Pens.

Approach:

§ Attachseverallargesheetsofnotepadpaperonthewallinpairs.Write“Yes”ononeofeachofthepaperpairs,and“No”onpaperspostednexttothem.

§ Above each Yes andNo notepad, post a corresponding question related to thetopicsofdiscussionattheworkshop.Example:Whydoyouthdothingsagainstthelaw(YES)ornotdothingsagainstthelaw(NO)?Whydoyouthgetinvolvedinlocalpolitics(YES)ornotgetinvolvedinlocalpolitics(NO)?Whydoyouthchoosetojoingangs(YES)ornottojoingangs(NO)?

§ InstructparticipantstowriteareasonwhyyouthwouldselecteitherYesorNoresponsestoeachquestion.Example:OntheYesnotepad:Youthchoosetojoingangsbecauseitgivesthemprotection.OntheNonotepad:Youthchoosenottojoingangsbecausetheyhaveasenseofbelongingandprotectionfromtheirfamilyandcommunity.

§ Make it clear that the reasons participants write might be based on theirunderstanding ofwhy othersmight make such choices, not necessarily abouttheirownpersonal actions. In fact,participants shouldstrive toselect reasonsdifferentthanthechoicestheywouldmakepersonallysothattheycanthinkoftheirresponsesasaformofrole-playing.

§ Afterparticipantshaveaddedtheirresponsestoeachof thevariousquestions,direct them to select one issue and a corresponding response to act out.Participantsshouldtakecarenottoselectthesameresponseasanyoneelsesothat each individual can write a monologue based on a unique character andperspective.

§ Handoutapieceofpaper andpen toeachparticipantandaskparticipants towritetheirselectedissueandcorrespondingresponseonthepaper

§ Directparticipantstofindacomfortablespaceintheroomtowork,awayfromotherparticipants.Allowtenminutesforparticipantstocraftashortmonologuebasedonthecharacter.

§ Participants should create a fictional moment or story when their charactermade the decision reflected in the issue and response on the participantsnotepads. Encourage participants to ask themselves, “What is my character’s


background?Howdid they find themselves in their current situation?What istheirpointofview?”

§ After the participants have created theirmonologues, ask them to share theircharactersoneatatimewiththerestofthegroup.

§ Onceamonologuehasbeenperformed,encourageotherparticipantstoasktheperformerquestionswhiletheyarestillactingincharacter.

Side Coaching: After participants have created their characters, but before theparticipants present their monologues, you may wish to lead a characterdevelopmentexercise.First,asktheparticipants towalkaroundtheroomastheircharacter.Whereistheretensionintheircharacter’sbody?Dotheyleadtheirbodywiththeirforehead,chest,orfeet?Whatemotionisthecharacterfeelingrightnow?Why?Whoisthepersonclosesttothem?Mostdistant?Whatdotheydesireintheirlife?What is theirworst fear? Following this character development exercise, askforvolunteerstobeginperformingthemonologues.

If adaptation is necessary due to illiteracy, follow the following approach forMonologueWork:

Approach:

§ Ask participants to stand still with their eyes closed and to think of theircharacter.Trytocreateapicture.Whatcoloureyesdotheyhave?Whatshapeistheirface?Dotheyhavelongorshorthair,aretheyoldoryoung?Aretheymaleorfemale?

§ Ask them to open their eyes and towalk around the roomwhile giving themprompts: Howmight thispersonwalk? Cantheywalkeasilyornot? Dotheymovequicklyorslowly?Aretheyconfidentorshy?Aretheyangry?Ifsowhoare they angrywith? What do they think of themselves? Whodo they love?Whatfearsmighttheyhave?Whatmakesthemhappy?

§ Afterparticipantshavepracticedwalkingaroundtheroomwiththesequestionsinmind,askthemtocomeupwithonesentencetheircharactermightsay.

§ Askthemtofreezeandperformtheirsentences,oneatatime.§ Move participants into group “hot-seating” in groups of 4 or 5 so that

participants can ask each other about their characters create a monologuetogether.(In“hot-seating,”onepersonisputonthespottoanswerquestions,incharacter,fromtheotherparticipantsabouthisorherlifeandmotivation.)

§ Atrainercanalsoactasascribeforeachgroup,ifdesired.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ What were some of the main issues under consideration? How did you feel

selectingeitherYesorNototheissues?§ Whatwasitliketocreateamonologuebasedonviewoppositeofyourown?§ Duringtherole-play,whatquestionswereimportanttoask?


§ Whatnewawarenessorknowledgeemergedforyoufromthisexercise?§ Howmightyouadapttheexercisetoapplyitinyourschoolorcommunity?

Source:MichelRohd


ObstacleTreePurpose: To analyze conflict issues identified by the participants, focusing onvisible, everyday effects, the conditions that allow these problems to persist andtheirrootcauses.Length:45minutesNumberofParticipants:3ormore

AgeLevel:12andup

Materials/Props: Flip chart prepared with a drawing of a tree, blank flip chartpaper,markers,coloredpost-itnotes:yellow,green,andred.

Approach:§ Setup flipchartsat the frontof theroomandaskparticipantstosit inasemi-

circlefacingtheflipcharts.§ ExplainthatthepurposeoftheObstacleTreeexerciseistothinkaboutthecause

andeffectaspectsofconflictandthatthiswillpreparethegrouptocreateForumTheatremodelsbasedonconflictsintheircommunities.

§ Showthedrawingofthetreethathasbeenpre-setontheflipchartinadvance.§ Explainthattheleavesonthetreerepresent:problemsthatyouseeorobserve

aroundyou.Thetrunkofthetreerepresents:conditionsthatsupportorcreatethe visible problems. The roots of the tree represent: root causes of thesesupportingconditions.

§ Provide an appropriate example to illustrate the Obstacle Tree structure. Forexample,youmightchooseconflictbetweenTajikistanandKyrgyzstan.Avisibleeffectorproblemissegregationbetweennationalidentitygroups(placethisona green card and stick it to the top of the tree– leaves) due to the ill-definedborders(placethisonayellowcardandstickittothemiddleofthetree–trunk),which can be attributed to poor government decision making and lack ofcommunication with local border communities (place this on a red card andstickittothebottomofthe–roots).

§ PlacetheparticipantsinRegionalGroups.§ Ask each group to sketch a tree, and to discuss key components of conflict in

theirregions,startingwiththe leaves(visibleproblems)andworkingdowntotherootcauses.

§ Visible problems should be put at the leaves of the trees (green card), thesupportingconditionsatthetrunk(yellowcards),androotcausesattherootsofthetree(redcards)

§ Groupsmaychoosetomapmorethanoneproblemusingthisexercise.Tokeepthe Obstacle Trees clear, each cause-effect relationship should be given anumberfromtheleavesdowntotheroots.(Forexample,thegreen,yellowandred cards in the example abovewould each be numbered “1” tomake it clearthey are components of the same issue. A second visible problem might be


identifiedbythegroupanditsgreen,yellowandredcardsnumbered“2”andsoon.)

§ Eachgrouppresentstheirobstacletree.

SideCoaching:Thefacilitatorcanguidethediscussionbasedonconflicttovariousspheresoflifeincludingeconomic,social,political,andenvironmental.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdidyounoticeaboutthedifferentlevelsoftheleaves,trunk,orroots?§ Where there any areas of disagreement in your groups? How dowe continue

working together, making sure that there is enough space for multiplenarratives?

§ Whatweresomeoftherootcausesofproblems?Whataresomeideastoresolveexistingtensionsbyworkingwiththerootcauses?

Source:FoundationforToleranceInternational,Kyrgyzstan


PuppetMasterPurpose: To push participants out of their comfort zones; to explore power

dynamicsandtherolesofleaderandfollower.

Length:20minutes


AgeLevel:12andup


Approach:

§ Askthegrouptostandinacircle;youmaywishtoseparatecirclesbygenderifmoreculturallyappropriate.

§ In order to build connections between participants, ask them to look oneanotherintheeye.Theyshouldnotonlymakeeyecontactwitheveryoneinthecircle,butalso‘witness’oneanother,actuallytakinginandconnectingwiththeother person.The participants should not talk, but listen toother participantswith theirhearts. Instruct them to hold eye contact beyond the pointof beinguncomfortable,asamethodofactivelisteningandpersonalsharing.

§ Followingtheintroductoryeyecontactexercise,instructparticipantstopartnerwithsomeonetheyhavenotworkedwithyet,or–forwhateverreason–feelalittlebituncomfortablewith.Theyshouldchooseapartnerthattheyneedtogettoknowbetter.

§ Once in pairs, one participant is labeled as Participant A, the other asParticipantB.

§ Instruct theAparticipantstoplacetheirhandsaboutsix inchesawayfromthefacesoftheBparticipant.

§ ParticipantBmustfollowthemovementoftheParticipantA’shand,asifthereisastringattachedbetweenthepalmofA’shandandB’snose.ParticipantAwilllead participantB around the room, changing fromhigh to low levels,movingbackwardsandforwards.

§ Call freeze after a few minutes and ask the participants to switch so thatParticipantBleadsParticipantA.

§ Ifusingthisexercisewithtrainers,demonstratehowthisactivitycanbeusedasapossible lead-in for imagetheatre.Usingoneof thepairsasamodel,calloutfreezewhile the pair is in themiddle of amotion. Ask the other participantswhat the image of the pair reminds themof.Who are the characters?What istheirrelationship?Whatisthepossiblestoryillustratedbythefrozenimage?

Side Coaching: This exercise was originally created by Brazilian theatrepractitionerandactivistAugustoBoalandcalledColumbianHypnosis.Heusedthetechniquetobreakdownvarious‘oppressions’thataremaintainedinthebody,bystretching participants tomove outside their normal physical comfort zones. Theexercisecanalsobeusedforparticipantstoexplorewhatitfeelsliketolead,andto


beled.Thefacilitatorcanconductapost-exercisediscussiontoexploreparticipants’relationtotheexercise.


§ Whathappened?§ Whatdiditfeelliketobetheleader?Tobethefollower?§ Howdid you use your ‘power’ as the leader? There is potential for conflict in

eachofus,sowealsomustexploredynamicsofresistanceandcontrol.§ Whathappenedwhenyoufoundyourselfinanuncomfortableposition?§ Howdidyouandyourpartnernegotiatepositionsormovement?§ Howdoyouthinkthisexercisecouldbeusedinaworkshop?§ Arethereanysuggestedadaptations?

Source:AugustoBoal


RegionalSharePurpose:Toshareculturalformsamongparticipants,whichcouldlaterbeadaptedaspre-performancewarm-upsorincorporatedintoForumTheaterplaystoincreaseaudienceorparticipantengagement.Length:60minutes,orlongerdependingonthenumberofregionalgroups.


AgeLevel:Alllevels

Materials/Props: CD/music, CD player, or any equipment necessary for culturalforms.

Approach:§ Splitparticipantsintoregionalgroups.§ Each regional group shares a fifteen-minute activity based on a cultural form

(dance,music,game,story,etc.)fromtheirarea.§ Thegrouppresentation is followedbya thirty-minuteworkshop, teachingand

leadingtheotherparticipantsintheregionaldance/music/game/story.

PossibleReflectionQuestions:§ Whatwassomethingnewthatyoulearnedtoday?§ Whataresomeoftheregionaldifferences/similaritiesbetweenculturalforms?


ThreeImageStoryPurpose: To introduce the use ofpersonal stories that can be used in image andforumtheatre;todevelopinglisteningandtellingskillstoimprovecommunicationandthetheatricalrepresentationofpersonalstories.

Length:20minutes


AgeLevel:12andup

Approach:§ Dividetheparticipantsintopairs.§ Explain that the purpose of the activity is to listen to your partnerwith total

focusandwithyourwholebody,andtotrytocatchthethreemainmessagesofthestory.

§ Directbothpartnerstositonthefloorfacingoneanother.§ Instruct the partners to share a significantmoment from theweekwith each

other.Oneperson fromeachpairwill sharehisorherstoryas the teller.Theotherpersonwillfocusintentlyasthelistener,butremainsilent.

§ After the tellershave shared their stories, instruct the listeners to standup infrontofthetellersandcreatethreesilentimagesbasedontheirperceptionsofthestorythey’vejustheard.Theimagescanberealisticorabstract.

§ After the listenerplaysbackthethree images,he/sheshouldmakeeyecontactwiththetellertohonorhim/herfortellingtheirstory.Thelistenerandtellerswaprolesandrepeat.

SideCoaching: Afterthepairshaveexchangedtheirstoriesandimages,youmaywanttoholdanimagegallery.Thefirstlistenerfromeachgroupmayselectoneofthe three imageswhichbest represent theheartof the story, andhold the image.Thetellersfromallofthepairscanwalkaroundthespace,lookingatthedifferentimages fromeachgroup.Dothesameafter the listenersandtellershaveswappedroles.Following theexercise, youmightprompt thegroup to findsimilaritiesanddifferences in the imagesandstories.Whatwerecommonthemes fromtheweek?What did you see? How have some people been feeling? Do you notice anycommonalitiesordifferences?


§ Whathappened?§ Howdidyoulistentothestory?§ Whatimagesemergedinthestory?Why?§ Didyouincorporateemotionsofthetellerintoyourimages?§ Didyoudiscoveranotherlayertothestorythroughyourlistening?§ Asateller,didyouseeanewsideofyourstoryafterseeingitinterpretedbya

listener?


§ Howcouldyouadaptthisexerciseforapplicationinyourschoolorcommunity?



LegendSkitPurpose: To build improvisational skills by creating a skit based oncharacterization,action,andplot.


AgeLevel:12andup

Materials/Props:N/A

Approach:§ Explain that participants will use the Legend of Yssyk-Kule (or another well

knownandculturallyappropriatestory)todevelopafiveminuteskit.Theywillneed to decide upon the physical characterization of each character in thelegend;thismaydrawuponthecharactersfromCommediaDellArteCharacters(pg.72),or fromtheparticipants’ imaginations.Theskitsshouldprimarilyusecharacterizationandimagestoconveythestoryratherthanrelyingondialogue.

§ Tell the Legend of Yssyk-Kule to ensure that all participants understand andagreeonthestory:

Khan ruled the land through force,often throwinghissubjects into thedungeon. One day, he heard about the indescribable beauty of a poornomad’s daughter, Ayana, and decided he must have her for himself.Ayanalivedinavillage,andwasinlovewiththebeautyofthemountainsand the river. Often, shewould sitnext to thewater and sing. She hadmany suitors, but she rejected them all – happiest to spend time innatureandwithherfather.Khansentmatchmakerstoherwithgifts,butsherefusedthem.Eventually,Khansenthisriderstocaptureher.Ayanawas blinded and taken to the fortress. Khan continued to shower herwithgifts,butsherefusedthemall.Likeawildbeast,Khanattackedher,butsheleapttothewindow.Asshefell,thefortresscrumbled,theriversfloodedthevalley,andthegirlsanktothebottomofwhatisnowYssyk-KuleLake.Youcanhearhersinging,eventoday.

§ Dividetheparticipantsintogroupsoffiveorsixpeople.§ Instruct the groups to devise a short skit based on the plot, actions, and

characterization in the story.Aplot is the sequenceof events surrounding themaincharacters.Whatarethemainactionpointsofthestory?

§ Thusfar,therearefourcharactersinthestory:Khan,Ayana,Suitors,andRiders.Theremainingparticipantsinthegroupcancreateanewcharacteryouaddintothestory,couldprovidesoundeffects,orserveasthedirector.

§ Allowfifteenminutesforthegroupstocreateashortskit.§ Giveeachgroupuptofiveminutestoperformtheirskit.

SideCoaching:Coachtheparticipantstocreatesceneswithdistinctactionpoints,characterization and strong images. This exercise can be used to focus on


characterizationandplotdevelopment. If time is running short,groups can spendmoretimeworkingintheirgroupsandnotperformforthelargegroup.


§ Whattacticsdidyouusetodevelopthedrama?§ Whoistheprotagonist?§ Whoistheantagonist?


Chapter 9 - Energizer Activities

BallTossPurpose:Tobuildteamwork,selfandbodycontrol,awarenessandfocus.Length:10minutesNumberofParticipants:5ormore

AgeLevel:8andup

Materials/Props:Activityball(volleyball-sized).

Approach:

§ Directparticipantsstandinacircleor–dependingonthesizeofthegroupandthespace-severalcircles,eachwithaballandafacilitator.

§ Tosstheballintothecircle.Allparticipantsmustworktogethertokeeptheballin the air, which requires teamwork, focus, and concentration on how mucheffortisneededtokeeptheballup.

§ Coachparticipantsondivingforballsandtakingrisks.

SideCoaching:Setgoalsforhowmanytimestheparticipantsmusthittheball(ex.strivetokeeptheballintheairfortwentyhits).Ifthistaskprovesdifficult,youmaycoachparticipants to takedeepbreaths together to facilitateunityorsuggest thatparticipantsfocusonthewaytheyreceivetheballratherthangettingflusteredandjusthittingtheballquickly.


§ Howdoyoufeel?§ Whathappenedwhentheballdropped?§ Howdidthegroupworktogethertokeeptheballintheair?§ Howdoesthisexerciserelatetoteamworkingeneral?

Source:Unknown


ShakeOutPurpose:Torefocusandenergisethegroup.


AgeLevel:12andup

Materials/Props:None.

Approach:

§ Directparticipantstostandinacircle.§ Demonstratetheexerciseonce,showingthatparticipantsshouldshakeouttheir

righthand eight times, their lefthand eight times, their right foot eight times,andtheirleftfooteighttimes.

§ Repeattheexerciseindecreasingnumbers.First,shakelimbsonacountofeight,thensix,four,two,andone.

Side Coaching: You might also suggest using strong voices to shout out thenumbersasavocalwarm-upandtoshakeoutthewholebody.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdidyounoticeabouthowyourbodyisfeeling?§ Howmightyouuseoradaptthisexercise?

Source:Unknown


ShipDeckPurpose:Toillustratetheuseofmimingasatheatretechnique;tore-energizethegroupLength:15minutesNumberofParticipants:6ormore

AgeLevel:8andup


Approach:

§ Directparticipantstostandinalineononesideoftheroom.§ Explainthattheflooroftheroomisahugeship.Theyarestandinginthelower

deck. Themiddle of the room ismiddle deck and the far side of the room isupperdeck.

§ Tell participants thatwhen you shout “Lowerdeck!” “Middle deck!” or “Upperdeck!”theyshouldruntothatareaoftheroom.

§ Aftertheparticipantsbecomeaccustomedtorunningtothedifferentareas,addstormintothegame.Whenyouyell“Storm!”participantsmustfalltothegroundasquicklyaspossible.

SideCoaching:Theexercisecanbeadaptedtouse imaginativemiming invariouspartsof theship, suchas castinganet,hoisting thesail,walking theplank, etc. Inaddition,theexercisemaybemadecompetitivebyspecifyingthatthelastpersontoreachthespecifiedareaisoutofthegame.


SingingTagPurpose:Tosharesongsfromtheparticipantsandtheirregionsandtore-energizethegroup.Length:5-15minutesNumberofParticipants:6ormore

AgeLevel:8andup


Approach:§ If participants are not familiar with the game of tag, begin the exercise as a

standardgameof tag;oneparticipant is it, thepersonwhochasesandtries totag other participants. When “it” tags someone, that person becomes “it” andmusttrytotagotherparticipants.

§ Toinitiatethegameofsingingtag,explainthat“it”mustsingasongduringthedurationoftimethattheyarechasingotherparticipants.

§ Assoonasanewparticipantistagged,theymustbeginsinginganewsongwhiletheychasetheothers.

§ Ifapersonis taggedanddoesn’tbeginsingingimmediately,theyareoutofthegameandmustsittotheside.Likewise,ifsomeonebeginstosingasongwhichhasbeensungbefore,thatpersonisoutofthegame.

§ Afteryouhaveplayedtheexercise,discussthereflectionquestionsandidentifyanysongsthatwerenewtotheparticipants.

§ Allowtheparticipantstoteachsomeofthesongstooneanother.

SideCoaching:Theparticipantsthatareoutandsittingtothesidecansingalongwiththepersonwhois“it,”iftheyarefamiliarwiththesong.Followingthegameoftag, this exercise can be extended by organizing the teaching of songs. To do so,breaktheparticipantsintofourgroups.Askonepersonineachgroupteachtherestoftheirgroupasong,aimingforrepresentationoftheparticipants’variousculturalbackgrounds.Afterafewminutes,directthesongleaderstorotatetothenextgroupand teach the new group their song. After three rotations, all four groups shouldhavelearnedallfoursongs;invitethegroupstosingthesenewsongstogether.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatweresomeofthesongsthatwereshared?§ Howmanyofyouknewthesesongs,orweresomeofthesongsnewtoyou?§ Howmightyouadaptthisexercise?If you choose to include the song sharing part of the exercise, further reflectionquestionscouldinclude:§ Whathappensintranslation?


§ Howdidyounegotiatelearningdifferentsongs?§ Whatmight this exercise teachusabout communicationanddifferent learning

orcommunicationstyles?

Source:GurukulSchool,Kathmandu


Tiger/TreePurpose: To enhance participants’ characterization, focus, and spatial orientationskills.Length:15minutesNumberofParticipants:10ormore

AgeLevel:8andup


Approach:

§ Directparticipantstowalkaroundtheroomwithouttalking.§ Explain that each person should silently select a tiger, someone in the group

whotheywilltrytokeepasmuchdistancefromaspossible.Participantsshouldnot tell anyone who they have selected as their tiger, including the tigersthemselves.

§ After a fewminutes, instruct participants to select another person as a tree,withoutlettingthatpersonoranyoneelseknowthattheyhavebeenselectedasatree.

§ The facilitator thengives the instruction foreachparticipant tokeep the tigerbetween themselves and their tree. Their goal is to keep their tree betweenthemselvesandtheirtigeratalltimes.

SideCoaching:Theexercisecanbeadaptedtochangetherelationshiptothetigersuchas:someonethatyouareafraidoforsomeonethatyoudonottrust.Likewise,thetreecanbeaguardianorsomeonethatyouadmire.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Howdidyounoticeaboutphysical andemotionaldynamics in the roomwhen

focusingonthetree,tiger,orbothatthesametime?§ Whatpatternsofbehavioremergedduringtheexercise?Why?§ Whatseemstocausewhatinthistypeofsituation?

Source:AugustoBoal,MichaelRohd


Chapter 10 - Closing Activities

CriticalResponse/FeedbackPurpose:TofacilitategroupfeedbackonaworkdevelopedbyparticipantsSequencing:ThismethodcanbeusedtosolicitfeedbackonForumTheater(pg.81)piecesindevelopment,oronMini-Workshops(pg.126)developedbyparticipants.Length:DependsonthenumberofgroupsrequiringfeedbackApproach:

§ Explain that theCriticalResponseProcess is a four-stepmethod for facilitated

groupfeedbackwhichengagesparticipantsinthreeroles:TheArtist(s)(thoseperformingorfacilitating)offerawork-in-progress(ForumTheater piece or mini-workshop) for review and feel prepared to allow thatworktobequestionedinadialoguewithotherpeople;Responders (participants in the workshop) are committed to theperformers’/mini-workshop leaders’ intent to make excellent work, and offerreactions to theForumTheaterpieceormini-workshop inadialoguewiththeperformers/mini-workshopleaders;TheFacilitatorinitiateseachstep,keepstheprocessontrack,andworkstohelptrainersandrespondersusethisactivityprocesstoframeusefulquestionsandresponses.

§ Explainthestructureofthefeedbacksessionasoutlinedbelowandfacilitatetheresponseprocess.

1. Statements of Meaning: Responders express answers to the question:Whatwasmeaningful, evocative, interesting, or striking in thework thatyouwitnessed?Examples:

‘Yourgrouphadstrongcharacterization.’‘Ilikedtheadaptationofculturalforms.’‘I thought you integrated several obstacles to peace whichcouldbeuniversallyunderstood.’


2. Artist as Questioner: Performers or mini-workshop leaders ask the

respondersquestionsaboutthework.Examples:‘Did you understand the character motivations of theprotagonistandantagonist?’‘Werethepossiblemomentsofinterventionclear?’‘Howcouldwebetterintegratethejokerrole?’

3. Neutral Questions: Responders ask the performers or mini-workshopleadersneutralquestionsaboutthework.

‘How did you decide upon who was going to performwhichrole?’‘Whatsystemdidyouusetoset-uptransitions?’

4. Opinion Time: Responders state opinions, subject to permission fromtheperformersormini-workshopleaders.

‘The second scenemight need information for the plot to beclear.’‘Ilikedhowyouintegratedtheaudienceattheverybeginningoftheperformance.Goodaudiencewarmupexercises.’

Source:AdaptedfromLizLerman’sCriticalResponseProcess


GraffitiWallPurpose:Toexplorethesuccessesandchallengesoftheworkshop.Length:60minutesNumberofParticipants:N/A

AgeLevel:Alllevels

Materials/Props:Largesheetsofpaper,tapeandmarkers.

Approach:§ Attacha largepieceofpaper to thewall.Usethisgraffitiwall as avisual and

textualresponsetotheactivities.§ Distribute markers to the participants and ask them to draw pictures and

symbols or write words that reflect their thoughts or impressions from theworkshop.

SideCoaching:Severalsheetsofpapercanbepostedtothewall torepresent thebeginning,middle, and end phases of theworkshop. In thisway, participants canreflectonvarioussectionsoftheworkshop.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdidyounoticeaboutthefeedbackfromthegroup?§ What were key moments from the workshop, what were moments that may

havebeenmorechallenging?§ Howdidyouseeadevelopmentoflearningfromthebeginningtotheendofthe

workshop?§ What are areas of theworkshop that you’d like to discuss as a group inmore

depth?

Source:Unknown


RoleontheWallPurpose: To process internal (felt) and external (inflicted) reactions to theworkshop activities; evaluate and reflect on experiences; classify some of thepersonaland/orsharedexperiencesofparticipants.

Sequencing: This activity is used to process participant reactions to theirexperienceoftheworkshopactivitiesorworkshopcontent.YoumightuseitafteratheatersessionlikeMonologueWork(pg.88),orafteraninstruction-basedactivitylikeIntroductiontoLeadership(pg.122).

Length:30minutesAgeLevel:Alllevels

Materials/Props:Largesheetsofwhitepaper,markers,andtape.

Approach:

§ Giveeachparticipantalargesheetofpaperandmarkers,andaskthemtodrawalargeoutlineofabody.

§ Askthemtosketchdrawings,words,orsymbolsinthecentreofthebodyoutlinethatreflecthowtheyhavefeltorwhattheyhavelearnedfromtheworkshop.

§ On the outside of the body outline, ask participants to sketch any words,drawings, or symbols that reflect how they have been impacted by thesurroundingenvironmentandpeoplearoundthem.

SideCoaching:Ifparticipantsarestrugglingtogetstarted,youmaywishtofillinanexample body to stimulate ideas. You might also alter the instructions to directparticipantstosketchdrawingsorwordsoutsidethebodyoutlinethatreflecthowtheymightuselessonsfromtheworkshopintheirlocalcommunity,andtosketchdrawings orwords inside the body outline that illustrate how theworkshop haschangedthewaytheythinkorbehave.Dependingonthesubjectmatterathand,youmightallowparticipantstochoosewhethertokeeptheirRoleonWallprivate,ortosharewiththegroupand/orpostitonthewall.

PossibleReflectionQuestions:§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ What did you discover about yourself and your experience by what you put

insidethebodyoutlineversuswhatyouputoutsideofthebodyoutline?§ Whatdidthefeelingsofgroupmembershaveincommon?§ Whataresomeoftheexternalforcesthataffectedyou?§ Whatexternalforcesdidthegroupmembershaveincommon?§ Whatisdifferent?§ Whatcanweconcludefromtheresultsofthisexercise?§ Howmightyouadaptthisexercise?

Source:Unknown


StarConfigurationPurpose: To physically arrange participants according to their experience withothers in the workshop; to identify relationships that they’d like to foster forprojectsinthefuture.Length:15minutes


AgeLevel:Alllevels


Approach:

§ Directparticipantstowalkaroundthespaceandtomakeeyecontactwithoneanotherwhilereflectingontheirexperienceduringtheworkshop.

§ Call out various comments for the participants to consider. Instruct them tosilently touch the shoulder of anyone that the comment may pertain to.Examples:

Touchtheshoulderofsomeonethatyouhavebeeninspiredby.

Touchtheshoulderofsomeonethatyouwouldliketogettoknowbetter.

Touch the shoulder of someone that you feel you would like to sharesomethingwith.

Touchtheshoulderofsomeoneyoufeelyouneedtolearnsomethingfrom.

§ Aftereachcomment,astarconfigurationwillbeformedofvariousparticipantsplacingtheirrighthandoneachothers’shoulders.

SideCoaching:Inadditiontomakingupadditionalcommentstouseintheexercise,youmayrequestideasforcommentsfromtheparticipantsthemselves.Theexerciseprovides a visual aid to assess the dynamics of the group and for participants tocontinue dialogue about how they may have been affected by or have affectedothers.


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdidyounoticebysomeofthepatternsinthestarconfiguration?

Source:AugustoBoal


StewPotPurpose:Toreflectonkeyexperientiallearningmomentsintheworkshop.Length:15minutesNumberofParticipants:3ormore

AgeLevel:Alllevels


Approach:

§ Directparticipantstositinacircle.§ Explainthatthecentreofthecircleisastewpotthatwillsoonbefilledwithall

of the ideas that emerge.The stewpot canbe thoughtof asa reflectionof theworkshop.

§ Encourageeachparticipanttoofferaphraseorwordthatbestdescribeshis/herfeelings,newinsights,ordiscoveriesattheendoftheworkshop.

§ After each person has addedhis/her phrase orword into the stewpot, directeachparticipant tomimeusingaspoontotakeabigdip intothestewpotandtakingasip.

SideCoaching:Youmayguidethediscussionwithopenendedquestions,suchas:“Respondwithawordorphrasethatdescribesyourfeelingatthisverymoment,”orwithmore specific prompts, such as: “Add awordor phrase to the stewpot thatrelates to your favorite exercise from the day and how you might use it in thefuture.”


§ Whathappened?(Whatdidyousee,feel,orhearduringtheexercise?)§ Whatdidyounoticeaboutthefeedbackfromthegroup?§ Whatwerekeymomentsfromtheday,whatweremomentsthatmayhavebeen

morechallenging?§ Whatotherquestionsmightyouuseatthebeginningofstewpottodrawoutkey

learningpointsfromthegroup?Addyourquestionsasnecessary.

Source:Unknown


TalkingStickPurpose:Toprovidetimeforindividualstosharetheirpersonalinsights,feelings,orepiphanies.Length:60minutesNumberofParticipants:N/A

AgeLevel:Alllevels

Materials/Props:Astick,microphone,orotherobjecttouseasthe‘talkingstick’

Approach:§ Directparticipantstositinacircle.§ Pass a stick,microphone, or other object counter clockwise around the circle.

Allow each up to one minute to share whatever they would like about theirexperience during the workshop. This may include feelings, a moment ofdiscovery,oraninspirationmovingforward.

Nooneshouldinterruptortalkwhensomeoneelsehasthetalkingstickinhand.Source:Unknown


TheatricalEvaluationPurpose:Tomodifytheaterexercisestoevaluatetheworkshoporsummercamp.Sequencing:Thisactivityshouldbeheldattheendoftheworkshoporcamp.Length:75minutesNumberofParticipants:Varies

AgeLevel:N/A

Materials/Props:Variesaccordingtoeachworkshopplan.

Approach:

§ ConsiderwaystomodifytheaterexercisessuchasAcrosstheRoom,RoleontheWall,SpectrogramandImageTheater toallowparticipants torespondtotheirexperiences at theworkshop. Plan the questions and format for the theatricalevaluationinadvance.

§ Forexample,RoleontheWallcouldbeadaptedwithan imageof thesun.Therays of the sun could represent knowledge obtained during the camp and theinteriorofthesuncouldrepresentchangedemotionsorperceptions.

§ AcrosstheRoomandSpectrogramcanbeusedforevaluationusingstatementssuchasthefollowing:

o I discovered the reasons for conflict inmypersonal life, school andregion.(10havediscoveredreasons,1havenotdiscoveredreasons)

o Ihaveabetterunderstandingofhowtopromotetolerance.(10betterunderstanding,1nonewunderstanding)

o I feel that I have the skills to implement amicro grant project. (10haveskills,1donothaveskills)

o I feel comfortable sharing personal stories. (10 very comfortable, 1notcomfortable)

o I have gained knowledge/awareness about conflict and causes toconflict in my community. (10 very knowledgeable, 1 notknowledgeable)

o IhavelearnedgamesandexerciseswhichIfeelIcouldtakebackintomycommunity.(10veryknowledgeable,1notknowledgeable)

o Ihaveaplanforimplementingthemethodologyintomycommunity.(10veryprepared,1notprepared)

§ Image Theatre can be facilitated to include images based on participants’feelingsaboutthecamp,ortheirambitionspostcamp.

§ Roleon theWall canbeused todemonstrate feelings inside theoutlinedbodyandtheaffectsofothersoutsidetheoutlinedbody.


SideCoaching:Askavolunteerorstaffmember to recordparticipant statementsduringtheseexercises,inordertoserveasevaluationoftheparticipantexperiencetomeetprogramobjectives.


SECTIONIII-TrainingandSustainability

Activities in this section are aimed at building capacity in participants to engagetheir communities inDCT, includingorganizing ForumTheater performances andtraining other community members in DCT. Under the Youth Theater for Peaceprojects, these activitieswere included in the Camp2 curriculum.As a facilitator,considerthelevelofdevelopmenttheparticipantshavereachedwhendeterminingwhichactivitiestouse.

Chapter 11 – Teaching DCT Training and Facilitation Skills

IntroductionofMethodologyPurpose:Tointroducethemethodologyofinteractivetheatre.

Length:20minutes


AgeLevel:Alllevels

Materials/Props:Chairs(enoughforallparticipants),twoflipcharts,twentysheetsofflipchartpaper,markers

Approach:§ Giveabasic introductionof theDCTmethodology (seepage5).Youmightuse

the format of amini-lecture, an introductorydiscussion to solicit participants’perceptionsof theatre(“Whatistheatre?”“Whomakestheatre?”),and/orshowandtellwithpicturesorvideoofinteractivetheaterperformances.

§ Besuretoemphasizethefollowingmainpointsduringthesession:o The goal of interactive theater is to facilitate dialogue and allow

participantstoseeksolutionstoproblemstheyface.o Provide a brief historical overview of main techniques: Theater of the

Oppressed(Image,Forum)andPlayback.o Interactive theatre techniques come from a wide range of sources, and

havebeenusedindiversesettingsaroundtheworld.o The community is the center for the planning and implementation of

change. For this reason, cultural modes of performance andcommunicationareat the centerof the theater techniques, andareusedalongsideculturallyadaptabletoolsforenrichingdialogue.


§ Splitparticipants intogroupsof five. Ifusingcolor t-shirts, thendividegroupsinto ten color groups of five members each. Trainers should split themselvesevenlybetweenthegroups.

§ Handoutsheetsoflargeflippaperandmarkerstoeachgroup.TelleachgrouptowritethewordTheatreinthemiddleoftheflipchartpaper.

§ Asktheparticipantsineachgrouptowritedowntheirownideasabouttheatreontheflipchartpaper.

§ Afterthegroupshavebrainstormedforfiveminutes,askeachgroupsharesomeoftheirideas,notrepeatingwhatagrouphassaidprior.

§ Write ideas onto a main master chart. Try to refer back to some of theircommentswhenhighlightingwhat toexpect fromtheDCTexercises.Example:“Theatreisatoolforsocialchange,”or“Theatreisamirrorofreallife,”etc.

§ Remind the participants that their ideas are central to the DCTmethodology!Invitethemtosuggestadaptationsoradditionstothemanualanditsexercisesso that the project can benefit their communities and enhance active dialogueandcommunityengagement.

PossibleReflectionQuestions:§ Whataresomeinteractiveactivitiesortechniquesusedinyourregion?Howcoulddance,puppetry,ormusic(orotherexamples)beadaptedforthesameobjectiveofbuildingdialoguethroughthearts?


ManualReviewPurpose:Tofamiliarizeparticipantswiththemanual.

Length:15minutes


AgeLevel:Alllevels

Materials/Props: Chairs (enough for all participants), manuals, two flip charts,markers

Approach:§ Askparticipantstotakeouttheirmanuals.§ Go through each section of the manual with the participants to specify the

various areas for curriculum exercises, including warm –up activities, lead-inactivities,mainactivities,energizeractivities,andclosingactivity.

§ Besurethattheparticipantsareawarethattheyarewelcometoaddtheirownexercisestothemanualfortheirownuseintheircommunities.

PossibleReflectionQuestions:§ Whatarethestrengths/weaknessesofthemanual?§ Isthereanythingmissing?


GroupDynamicsPurpose:Tounderstandgroupdynamicsthroughroleplay.Length:30minutes


AgeLevel:Alllevels

Materials/Props:Manuals,twoflipcharts,markers

Approach:§ Review themainareasof groupdynamics,whichhavebeenprewrittenon flip

chart paper. You may also refer participants to workbooks and explain/walkthrougheachphase:

Forming: The first stage of groupdynamics.Members are usually on theirbestbehavior.Theparticipantsgettoknowoneanother,andthefacilitatorisabletoassesshowpeopleworkindependentlyandwithoneanother.Atthisstage,thefacilitatorusuallygivesanoverviewoftheworkshop,setsgroundrules negotiated by the group, and requests participants to share anyexpectationstheymighthavefortheworkshop.

Storming:Duringthestormingstage,participantstestboundaries,andplaywith roles and power relations. A groupwill always go through this stage,anditshouldbeconsideredanecessarystepincreatingadynamic,safe,andexpressive group. However, theremay be some behavioral challenges thatyouwillneedtoaddress.

Norming: After the storming stage, participants begin to normalize theirbehavior throughmutual consensus as individuals begin to balance powerdynamics amongst the group. Sometimes, this may happen formally byrevisiting ground rules, setting up newmodes of engagement, or definingrolesandresponsibilitiesamongst thegroup. Itcanalsohappen informally,when the dominant personality may pull back to allow for more passivemembers to participate. It is useful for the facilitator to suggest forindividuals to challenge their usual behavior and to experiment withalternativewaystoparticipate.Forasilentparticipant,itmaymeanspeakinguportakingaleadershiproleinthegroup.Foradominantparticipant,itmaymeanobservingandrecordingthegroupactivities.

Performing:Thefinalstageofagroupprocessisperforming.Atthisstage,thegroupisworkingasateam,makingdecisionsindependentlyandeachpersonfeelsthattheyhaveavoice.Evenatthisfinalstage,thegroupmaygobacktothestageofstorming,butusuallythegrouphasdecideduponrulesofcommunicationandroles/responsibilitiesthataidinthedecision-making


andproblemsolvingprocess.Atthispoint,trusthasbeenbuiltandthisprovidesamorefluidstructurebetweenstormingandperforming.

§ Divideparticipantsintosmallgroupsanddirectthemtomakeanimagerelatedtothevariousphasesofgroupdynamicslistedabove.First,explainanddescribethe term (e.g. Forming, Storming, etc.), and then ask the groups to create animagerelatedtothephase.Examples:§ Forming. Groups are meeting one another for the first time. How might

people stand in relation to one another? What are different reactionsparticipantsmighthaveinmeetingothersforthefirsttime?

§ Storming: Participants are testing boundaries. What are some reactions

participants might have to one another or the facilitator? What roles doparticipantsbegintoplay–clown,teacher’spet,mediator,etc.?

§ Norming: After storming, the group begins to negotiate their roles and

equalizepower.Howmightparticipantssharepowerorspeakingtimemoreequally?Whatagreementsmightbemadeinthegroup?

§ Performing: At this stage, everyone has a voice and isworking as a team.

What might this kind of cooperation look like? How might participant’sindividualcharacteristicsmanifestthemselvesinthisstage?

§ Alloweachgroupfiveminutestocreateeachimageforthefourphasesofgroupdynamics.

§ Invitethesmallgroupstosharetheirimagesofthefourphases.§ Endthesessionbyremindingparticipantsthattheywillbeleadingandworking

in Theater Tour groups, and that it will be important for them to understandgroupdynamicssothattheycanbeeffectivegroupleadersandmembers.

Side Coaching: Depending on time constraints, the facilitator could select oneimage fromeachgrouptorepresentagroupdynamicphase for furtherdiscussionandreflection,oreachgroupcouldpresenttheirfourimages.PossibleReflectionQuestions:§ Whatweresomeofthecharacteristicsofeachphase?§ What interventions could be made at the storming stage to help the group

progressintothenormingandperformingphase?§ Whyisitimportanttounderstandgroupprocesses?


FacilitationPurpose:Tointroducemainelementsoffacilitation.

Length:45minutes

NumberofParticipants:Varies

AgeLevel:Alllevels

Materials/Props: Chairs (enough for all participants), two flip charts, loose flipchart paper, markers. Write the experiential learning cycle and group dynamicsnotes(refertoFacilitationonpg.18)onflipchartsinadvanceofsession.

Approach:§ Begin the exercise by asking participants what characteristics are most

importanttofacilitatingactivities.§ Drawanimageofabodyontheflipchartandincludesomeofthefeedbackonto

the image (ex: big ears to hear, big heart to listen, etc). Add any othercharacteristics of facilitation to the drawing, such asmotion lines next to feetemphasizingmovement,andatoolboxoftricks.

§ Break participants into small working groups and provide pens/flip chart toeachgroup.

§ In small groups, direct participants to discuss the characteristics of a goodfacilitator, sketching their own symbols onto the outline of the body aspreviouslydemonstrated.

§ Following this small group work, allow each group to present their “idealfacilitator.”

§ Reviewelementsoffacilitationincludedinthemanual:

• Whatgoodfacilitationlookslike(seepage16)• Reflection(seepage17)• ExperientialLearningCycle (seepage17)Drawcycleon flipchart in

advance.• Groupdynamics(seepage19).Writeonflipchartinadvance.• Transitions(seepage13)

PossibleReflectionQuestions:§ Whatarethemainelementsoffacilitation?§ Howdoyouchangeorenhanceyourpersonalityorcommunicationstyletobest

facilitateagroup?§ Whatareotherskillsyoumightneedtoimprove?§ Howdoyoucontroltheenergylevelofagroup?§ What is thebalancebetween leadingagroup,andallowingthegroupthatyou

arefacilitatingtobeleaders?


SideCoaching:Tointroduceandsimplifytheexperientiallearningcycle,youcouldalsodrawavisualimageofthecycleandfocusontheprocess,potentiallychangingterminologytokeyphases:a)whatdidyouexperience/feel?b)howdidyou/othersbehave? c) what were similarities or differences in the group? d) how do yourdiscoverieslinktotheoutsideworld?e)howcantheknowledgebeapplied?Itcouldbeuseful to illustrateanexercisesuchasPuppetMaster (pg.93),andthendebrieftheexercisebreakingdowntheexperientiallearningcycle.


IntroductiontoLeadershipPurpose: To introduce participants to the concept of leadership; to developparticipants’ideasabouthowtheycanserveasleadersintheircommunities.

Length:1hourNumberofParticipants:6-30

AgeLevel:12andup

Materials/Props:FlipchartpreparedwithLeadershipQualities(seebelow)listed.

Approach:

1) Discussion:TheIdealLeader

§ Instructparticipantstoformacircleandclosetheireyes.§ Ask them to imaginea leader, someone theyhaveknown. Thispersoncanbe

anyone at all in any leadership position (e.g. a former teacher, a village elder,etc.). Ask, “Think about how this person holds their body, how this personmoves,whatheorshewouldsay.”

§ Invite participants to open their eyes and beginmoving through the space asthatperson,speakingaphrasethatpersonwouldsay.

§ Askparticipantstoobserveeachotherastheymovethroughtheroom.§ Summon participants to return to the circle. Encourage a few participants to

demonstrate their characters to the group, and to explain who they wererepresenting and a few leadership characteristics of that person. Side-coaching:Youmaychoose todelay thisdiscussionuntil after theparticipantshavecomeupwiththenextsetofimages,describedimmediatelybelow.

§ Askparticipantstoclosetheireyesandimaginealeadertheyadmire.Howdoesthispersonbehave?Whatinternalqualitiesdoesthispersonhave?Whatdoesheorshelooklike?Howdoesheorshemove?Whatdoesheorshesay?

§ Inviteparticipantsshouldopentheireyesandbeginmovingthroughthespaceastheleadertheyadmire.

§ Summon the participants back to the circle and solicits ideas about thecharacteristicsandbehaviorof the leaderstheyadmire. Whataresomeof thedifferencesbetweenthetwoimagesofthetwoleaders,ifany?Whataresomeofthesimilarities?2) Groupwork:YouthasLeaders

§ Break participants into groupsof5-6 participants. Do not place students from

thesameschoolintogroupstogether.§ Directeachgrouptositinacircle. SimilartotheStoryCircleexerciseinForum

Theater (pg. 81) and Talking Stick (pg. 112) activities, each group membershouldshareabriefexampleofatimewhenheorshewasaleaderinhisorher


family,school,orcommunity. Examplesmight include:caring for/encouragingyounger relatives; serving as class monitor; sports leadership; NGO or youthcommitteeleadership.

§ Afterallgroupmembershaveshared,askthegroupstochooseoneofthestoriesandcreateavisualimageofthatsituation.

§ Call thesmallgroupsbacktogetherand inviteeachgrouptosharetheir imagewiththelargegroup.

3) LeadershipQualities

§ Ask “Based on the images that we have seen, what do you think are some

importantqualitiesofaleader?”andsolicitresponsesfromlargegroup.§ Revealsaflipchartwiththefollowingkeyleadershipqualities-alsoincludedin

theDevelopingYourLeadershipAttributesHandout(pg.211):o InterpersonalStrengthso CommunicationSkillso Self-Confidenceo AbilitytoMotivateOtherso OrganizationalSkills

§ Depending on time constraints, youmaywish to lead a discussion on each ofthesequalities,and inviteparticipants toexpresswhat thesequalitiesmeantothem. If additional time remains, split participants into small groups, and askeachgrouptoanalyzeanddefineoneofthesequalities,andthenpresenttothelargegroup.

4) Self-Reflection

§ Emphasizethateveryone isdifferent,andeveryonehas leadershippotential in

differentways. YTPparticipantswillbeworking in teamssoDramaClubandTheaterTourgroupswillbeabletosharestrengthswitheachother.

§ Askparticipants to thinkabout theirownskills ineachof these5areas; this isindividualreflection, anddoesnotneed tobe sharedwithanyone. Wherearetheyarestrong? Wherewouldparticipants liketo improve? ParticipantsmayusetheDevelopingYourLeadershipAttributesHandout (pg.211)tomakenotesforthemselves.

§ Closethesessionbyremindingparticipants that theyshouldbeawareof theirown leadershipqualities, so that they caneffectively serveas leaders for theirpeers.


PlanningTrainer-LedActivitiesPurpose: To prepare trainer-led workshops based on issues that have emergedduringcamporexerciseswhichrequirefurtherreview.Length:120minutesNumberofParticipants:N/A

AgeLevel:N/A

Materials/Props: Flip chart paper and markers. See the Curriculum WorkshopPlanningHandout(pg.190).Makeenoughcopiesforeachtrainer.

Approach:

§ Encourage trainers to discuss issues thatmay have emerged during the campsuchasgroupdynamics,curriculuminstruction,orareasthatmayneedfurthertraining.

§ Dividetrainersintofourgroupsinwhichtheywillcreateworkshopsthatwillbeconducted later in the camp.Dependingonthe interestsof thegroup, trainerscan either be divided into groups randomly, or can self-select into themedworkshopgroups.

§ Explainthateachtrainingteamwillprepareaworkshopinordertorespondtothe needs of the campparticipants. Eachworkshopwill consistof awarm-up,lead-in,mainactivity,energiser,andclosingactivity.Each facilitationteamwillhaveonehourandfifteenminutestopresenttheirworkshop.

§ Trainers should plan who will facilitate each exercise, and the roles of otherfacilitators as co-facilitators and “ring-leaders”/logistics coordinators. Inaddition,trainersshouldpreparematerialsinadvance.

§ Aftertrainershaveplannedtheirsessions,askeachgrouptoquicklyactoutthecourse of their workshops in order to clarifying directions needed for eachexerciseandtheorganizationoftheteam.


§ Whatarethemesemerging?§ Whatrequests/commentsarecomingfromtheparticipants?§ Howcanthecampbefurtheryouthfocused/led?


Participant-ledInteractiveGames1) PreparingfortheParticipant-ledInteractiveGames

Purpose:Toencourageconfidenceintheparticipantstoleadtheirownworkshops.Length:45minutes


Materials/Props:Copiesof curriculumworksheets. See theCurriculumWorkshopPlanningHandout(pg.190).Makeenoughcopiesforeachparticipant.

Approach:§ Divide participants into color team groups. Half of the groups will develop

curriculumforparticipant-ledactivitiesbasedonthethemeofteamwork,whiletheotherhalfofthegroupwilldevelopcurriculumforparticipant-ledactivitiesbasedthethemeoftrust-building.

§ Direct the adult trainers toworkwith each color team to help facilitate theirideas.

§ Encourage participants to utilize their favorite activities, or other activities orgamesthattheyknowandwouldliketoleadbasedontheirworkshoptheme.

§ Instructparticipantsfromeachgrouptoleadorco-leadtheexercises.Thegroupwill design a workshopwith a warm-up, lead-in, main activity, energizer andclosingactivity.SeeCurriculumWorkshopPlanningHandout(pg.190).

§ Ask the adult trainers to help coordinate activities, provide assistance on theorderofexercises,andtoprovideback-upsupport.

§ Directparticipants todoa trialrunof theirexercises.Asktheadulttrainers tooffer suggestions regarding the clarity of participants’ directions for theactivities,transitionsbetweenexercises,andobjectivesofexercises.

§ Communicatetheschedulefortheyouthfacilitationteamstoleadtheirsessions(refertothesampleagendaforsuggestions.)2) ConductingtheParticipant-ledInteractiveGames

Purpose:Toencourageconfidenceintheparticipantstoleadtheirownworkshops.Length:75minutes(moretimecanbeallottedforthisdependingonthenumberofparticipants)Materials/Props:Variesaccordingtoeachworkshopplan

Approach:

§ Allowparticipants to lead theactivities theypreparedbasedon the themesofteam-buildingandtrust-building.

§ Directthetrainerssupporttheparticipantsifandwhenneeded.


Mini-WorkshopsPurpose:Topracticeinteractivetheaterworkshopdesignandfacilitation.Sequencing:Thisactivityshouldbeconductedafterparticipantshavehadachancetodevelopconfidenceand receive feedbackon their facilitationofParticipant-LedInteractiveGames(pg.125).Length:60minutes


AgeLevel:12andabove

Materials/Props: Chairs (enough for all participants), manuals, blank sheets ofpaper.

Approach:

1) Design

§ ExplainthateachForumTheatergroupwillpreparea30-minuteinteractivetheaterskillsworkshopandfacilitatetheworkshopforotherparticipants.

§ Review facilitation skills and reference the Facilitation Handout (pg. 201).Andexplain,“Inyourmini-workshops,wewouldlikeyoutogiveeachgroupmemberachancetofacilitateandpracticeyourskills.”

§ Reveal a flipchart titled: “WorkshopObjective”andexplain that inorder toplan a good workshop, the planners must have an objective. “Is yourobjectiveto‘buildtrustinagroup’?”“Isitto‘TeachImageTheater’?”“Isittohavethegroup‘learnfacilitationskills’?”

§ Write “Build trust inagroup”as theobjective, andaskparticipants, “Whatactivitiesmightyouincludeinaworkshopwiththeobjectivetobuildtrust?”Solicitideasandwritethemontheflipchart.

§ Direct participants to turn to their Forum Theater groups and choose anobjective together. After selecting an objective, groups should raise theirhands so that an adult trainer can review itwith the group. (You and theadult trainers should circulate among the groups to help them choose anobjective.)

§ Afteragrouphasselecteda strongobjective, instruct them toplanamini-workshop, which should last approximately 30 minutes, based on thisobjective. Instructions for mini-workshop planning can be written onflipchartasfollows:

YourMini-Workshop:

*Shouldlast30minutes;*Activitiesshouldsupporttheobjective;


*Allgroupmembersshouldtakeaturntofacilitateifpossible.§ The remainder of this time is used for groups to prepare theirworkshops

while you and other facilitators circulate among the groups and providecoaching.

SideCoaching:Youmaychoosetohavegroupspreparemini-workshopsbasedon the template used in this manual (i.e. Warm-Up, Lead-In, Main Activity,Energizer,Closing)However,notethatitwillbedifficulttofitallsuchactivitiesinto a 30-minute session, so timeswill need to be adjusted if you choose thisoption.

2) FacilitationLength:Asappropriate.

Preparation:

• SetaschedulefortheYouth-LedPresentationsandinformallparticipants.• Youmaychoosenottohaveallgroupsparticipateineachmini-workshop,or

tosplitthelargegroupintwo,sothatallgroupsmaypresent.• Ensure that there are nomore than 6 groups. Each group should have no

morethanapproximately6people,sothatallgroupmembershaveachancetopracticeleadingorco-leadinganexercise.

Approach:

• Introduce the session, and then allow each small group to facilitate theirmini-workshopinturn.

• Allow30-minutepresentationsand10-15minutesoffeedbacktimeforeach.Youmaychoose touse theCriticalResponse technique forprovidinggroupfeedback(pg.106).


Chapter 11 - Building Sustainability: Applying DCT in the

Community

LookingAhead:HowtoUseMaterialsinSchoolsorCommunities(GuestSpeaker)Purpose: To envision how DCT activities might be integrated into participants’schoolsorthecommunity.Length:N/ANumberofParticipants:N/A

AgeLevel:N/A


Approach:

§ Welcome a guest speaker (ideally, a local education official) to give apresentation on how the drama activities might be integrated into school orcommunityactivities.

§ Divideparticipantsintotenworkinggroups.§ Instruct eachworkinggroup tonominate a discussion facilitator, a note taker,

andaspeaker.§ Remind theworking groups to bemindful of soliciting input from both youth

andadults,andmalesandfemaleswhenfacilitatingdiscussion.§ Directeachworkinggrouptocomeupwithaschoolplanfor:1)Howdramacan

be integrated into the curriculum, 2) How to create youth-led initiatives forschoolandcommunityinvolvement.

§ Askeachgrouptopresenttheirideas.


MakingitYourOwn:AdaptingtoRegionalContext(GuestArtistorPerformanceTroupe)Purpose: To integrate forum theatre techniques and DCT activities with localculturalforms.Sequencing:ThisactivityshouldtakeplaceaftertheLegendSkitactivity(pg.98).Length:75minutesApproach:

§ Invite the guest artist or performance troupe to integrate the legend in theLegend Skit activity (pg. 98) with local cultural forms. The guest artist willperform a short adaptation of the legend to demonstrate how cultural formssuch as song, dance, and music can be integrated into the theatre-makingprocess.

§ Followingthedemonstration,splittheparticipantsintoRegionalGroups.§ Encourage the participants to share ideas about the cultural forms of their

region, such as songs, musical instruments, legends, dances, customs andtraditions,foodorimportantplaces

§ SincegroupswillalreadybefamiliarwiththestoryoutlinefromtheLegendSkitactivity (pg. 98), ask participants to reviewwhichof the varied cultural formsthey’vediscussedcouldbeintegratedintoaperformanceofthelegend.

§ Instructparticipantstocreatefivefreeze-frameplotpointsandtointegratetheculturalformsintothefreeze-frameplotpointstocreateaskit.

§ Allow the groups to rehearse their skits and then perform for the rest of theparticipants.

Source:SahknahTheatre,Kyrgyzstan


DramaClubsPurpose: To brainstorm and develop ideas about how to start and run DramaClubs inparticipants’schoolsand/orcommunities. (Note:activitiesweredesignedbased on IREX’s grant program for participants of the Youth Theater for Peaceprograms.)

Length:1hourNumberofParticipants:6ormore

AgeLevel:12andup

Materials/Props: Blank flipcharts for brainstorming; Drama Club PlanningFlipcharts(pg.191);DramaClubPlanningChecklist(pg.192).

Preparation:

• DramaClubPlanningFlipcharts (pg.191)preparedoneachofthe followingtopics: (1) Goals of Drama Clubs; (2) Drama Club Charters; (3) Roles andResponsibilitiesofMembers;(4)BudgetManagement.

Approach:

SharingIdeas(10minutes)§ OpenthesessionwiththelargegroupbystatingthatthepurposeoftheYTP

project isnotonly togiveparticipantsanopportunity toparticipate inandlearn the drama methodology, but also so that through the participants(“You!”)manyotheryouthinparticipants’schoolsand/orcommunitieswillhavetheopportunitytolearnandexperiencethemethodology.

§ Askparticipants to turntotheirneighbor(s), forminggroupsof2-3people,andtocomeupwith3 ideas forhowtheycouldusethemethodologyoncetheyreturntoschools/communitiesthisfall.

§ Solicitandbrainstormideaswiththeparticipantsforaround5minutesandthen briefly summarize the groups’ ideas and encourage everyone to becreativeandtoworkwithYTPintheFalltoimplementtheirideas.

DramaClubs(50min):§ State that we hope all schools and/or NGOs represented among the

participantsandtrainerswilltaketheopportunitytostartadramaclubthisfall.Remindparticipantsthatmanyoftheideasthatdiscussedearliercouldworkwell in the formatofDramaClubsandencouragethemtobecreativewithotheractivities.

§ Brainstorming: Solicit ideas about the steps needed to start aDramaClub,andwritetheparticipants’ideasonaflipchart.Ensurethatthefollowingare


included: club charter (signed by school director); dedicated space (wherethegroupcanmeet/perform?);dutyassignment(whowillberesponsibleforwhat?);recruitmentofparticipants(diversity);scheduleplanning(whenwillwe meet and for how long?); activity planning (what will the drama clubdo?).

§ ExplainthatYTPhascreatedaplanningchecklistforeachDramaClubtousetohelpwithplanningfortheDramaClubs.

§ State that the rest of the activity will be spent discussing four topics: (1)Goals of Drama Clubs; (2) Drama Club charters; (3) Roles andResponsibilitiesofMembers;and(4)BudgetManagement.

1) GoalsofDramaClubs:• Turn to flipchart #1 titled “Drama Club - Possible Goals” and ask

participantstothinkaboutWHYholdingadramaclubintheirschoolorcommunityisagoodidea.Writedownideasontheflipchart.

• ExplainthatitisimportanttoknowwhatthegoalofyourDramaClubwillbe.Areyouplanningtohelpparticipantslearnthemethods?Toprovideinterestingafter-schoolactivitiesforyouth?Areyoualsoplanningtodoapublic performance for other students? Are you planning to doperformancesforparentsand/orothercommunitymembers?

• Ask participants to group themselves by school, community, or otherrelevant groupings of possible future drama club leaders, and to begindiscussingtheirgoals.Onememberofeachteamshouldwritedown1-2goals.(Facilitatornote:Goalsmaybethesameforallclubs,andthat’sOKatthispoint.)

2) DramaClubCharters• Holdalargegroupdiscussiontosolicitideasaboutwhatacharterisand

why it is important. Then, turn to flipchart #2 titled “Drama ClubCharters” and review each point. Remind participants that this list isincluded on theDrama Club Planning - Checklist (pg. 192) that will bedistributedattheendofthissession.

3) RolesandResponsibilitiesofMembers• Explain thatwhenever one organizes a groupor club it is important to

assignrolesandresponsibilities.• Ask participants why this important and solicit a few responses. Ask

participantstorecountexperiencesthey’vehadinaclubororganizationwhere roles/responsibilitieswere divided. How did itwork? Solicit afewresponses.

4) BudgetManagement.


• Askparticipants to think to themselves fora fewminutesaboutbudgetmanagement.Whatdoyouthinkaresomethingsthatoneshouldkeepinmindwhenmanagingmoney? Askparticipants todiscuss thisquestionwith their groups, and to come up with a list of 4-5 principles formanaging money. Examples: anticipate expenses over a period ofweeks/months,notdays;shoparoundforthebestdeal;trytogetthingsfor free;keep trackofhowmuchmoney isspentandhowmuch is left;takecareofthemostimportantexpensesfirst.

• Showflipchart#4,BudgetManagement,andreviewallpoints.

DramaClubPlanning: HandoutDramaClubPlanningChecklistpg.192)andaskgrouptoreviewandbeginworkingonthechecklist. Circulateandbeavailableforquestions.

§ Closethesessionbyremindingparticipantsthatthesetoolsshouldhelpthemtogetstartedinplanningtheirclubs,andthatIREXandpartnerorganizationstaff will be available to help and advise them. Tell participants that youencourage them to engage in many creative activities and that you lookforwardtohearingaboutwhattheyhaveaccomplished.


OverviewofTheaterToursandGrantsPurpose:Provideanoverviewofthetheatertourprogram.Sequencing:Theinclusionandtimingofthissessionwilldependonthegrantfundsavailable to a specific set of participants. In IREX’s Youth Theater for Peaceprograms,separategrantswereavailable for formingDramaClubs (micro-grants)andforsharingForumTheaterperformancesinnewcommunities(TourGrants).Length:15minutesNumberofParticipants:6ormore

AgeLevel:12andup


Preparation:CreateflipchartthatshowsthediagramfromtheTheaterTourBudgetTemplateHandout(pg.222).

Approach:

§ RemindparticipantsoftheDCTactivitiesthattheymayalreadyhavesharedwiththeircommunities(ifthissessionisbeingconductedaspartofa“Camp2”orfollow-onevent)andtheirfutureplansfortheircommunities.

§ ProvideanoverviewoftheTheaterTourandgrantscomponent,encouragingparticipantstodoasfollows:

o Continue learning about assets and opportunities in their own andnearby communities (supportive authorities; potential venues forperformances; other interested schools, organizations), as well asissuesofconcerninthesecommunities.

o DevelopForumTheaterplaysbasedonissuesandsituationsrelevanttothesecommunities.

o Develop awritten plan for the Theater Tour and submit it to IREX,

whichwill approve the plan and provide grants funds. (Amount tovary;checkwithProgramDirector.)

o Perform plays for community members in their own and nearby

communities.

o Takepicturesandvideo!CompletereportandsubmittoIREX.


“OurCommunity”BoxPurpose:Tolearnabouteachother’scommunitiesthroughobjects.Length:60minutes


AgeLevel:12andabove

Materials/Props:Chairs(enoughforallparticipants).

Preparation:

• Participantsshouldbringa“box”ofobjectsfromtheircommunitythattheyhavepreparedasoneofthepre-campassignments(intheYouthTheaterforPeace projects, participants assembled their boxes between Camp 1 andCamp2).Eachcommunitygroupshouldbringonebox.

• Dependingonthenumberofcommunitygroups,thissessionmayneedtobedivided intotwoseparategroups,eachcontainingsmallcommunitygroupsfromeachregion.Eachcommunitygroupwillneed5minutestoperform,soit is recommended to have no more than six community groups in eachsection.

Approach:

• Askparticipantstoclosetheireyesandimaginetheircommunity.“Whatdoyoulikeaboutit?”“Whatinyourcommunityareyouproudof?”“Whatareyour favorite places and things in your community?” Ask participants toopentheireyes.

• Explainthatthisinthisactivitywewilldevelopskillsandstrategiestogettoknow our communities. Remind participants of the “Community ObjectsBox”thattheyhavebroughtwiththem.

• Advise each community group touse their box of objects to develop a 3-5minute “mini” (a short performance, does not have to be problem-based)basedontheobjectsanddescribingtheircommunity. Instructparticipantstofocusonthepositivethoughtsthattheyhadwhentheireyeswereclosed,andtodemonstratethoseaspectsiftheircommunitiesintheirperformance.

• Allowthecommunitygroups15minutestopreparetheir“minis”andcoachthegroupsasneeded

• Callthecommunitygroupsbackaskthegroupstotaketurnspresentingtheirminis.Actorsshould“freeze”attheendoftheirmini.

• Aftereachmini,moderateafewcommentsfromtheaudience:o Whatdidyoulearnaboutthiscommunity?o Whatdoyouthinkarethiscommunity’sgreateststrengths?


• Uses thought-tracking (see description on pg. 81 under theForumTheateractivity)withsomeoftheactors,askingthemtobrieflysharetheirthoughtsaboutthecommunityandtheirroleinthecommunity.

QuestionsforReflection:o What have you learned about your own community through this

exercise?o What have you learned about other communities through this

exercise?o WhyisitimportanttounderstandyourcommunitydeeplyforForum

Theaterdevelopmentandperformances?


CommunityAssetMappingPurpose:Tocreateavisualrepresentationofcommunityassets.Sequencing: This activity should take place after “OurCommunity”Box (pg. 134),andCommunityAssetMapping(pg.136)

Length:60minutes


AgeLevel:12andabove

Materials/Props: Chairs (enough for all participants), manuals, two flip charts,looseflipchartpaper,markers.

Preparation:Drawandlabelasample“CommunityAssetMap”onaflipchartpapertoshowparticipants.

Approach:

• As a large group, point out to participants that the “Our Community” Boxexercise(pg.134)focusedattentiononfavoritethingsinourcommunities–thesethingsmighthaveincludedplaces,people,andobjects.Thesepositiveelementsofacommunitycanbecalledassets.

• Facilitateabriefbrainstormingexercise;askparticipantstothinkaboutanddiscusstheassets in theirowncommunities.Ensurethatparticipantsshareideasaboutpeople,places,spaces,andthings.Ifneeded,samplefacilitationquestionsmightinclude:

o Who are some people in your community who are assets for yourtheatergroupandforForumTheater?

o CanyouthinkofanylocalauthoritiesorleaderswhomightbeassetsforyourtheatergroupandForumTheater?

o What are some spaces that could be considered assets for yourtheatergroupandForumTheater?

• Breakparticipants intocommunitygroups. With flipchartandmarkers,direct each community group to draw a map of their community thatshowsall of theassets that they can thinkof. See theCommunityAssetMapping Overview Handout (pg. 212) for instructions. You and othertrainersshouldcirculatebetweenthegroupsandassistwhereneeded.

• Summonparticipantsbacktothelargegroup(orto2sub-groups).• Invite community groups to present their asset maps to the larger group

briefly, without discussion. Instruct participants to think about their owncommunities as they listen to the presentations, and to make notes aboutadditionsthattheywouldliketomaketotheirownmaps.

• Afterallgroupshavepresented,de-briefusingthefollowingquestions:


o Whatweresomecommonalitiesbetweentheassetmaps?o Whatweresomedifferences?o Whatwere some great ideas for assets that you learned fromother

groups?o Howdoyouthinkthatthecommunityassetmapcanbeusedasyou

planyourtheatertours?• Sendparticipantsbacktotheirsmallgroupsfor5minutestoaddadditional

ideastotheirmaps.• Paste themapson thewall andensure thatparticipants take themback to

theircommunitiesattheendofthecamp.


UnderstandingCommunity“Characters”Purpose:Toexplorethemotivationsandprioritiesofcommunityleadersthroughmonologue.Sequencing: This activity should take place after “OurCommunity”Box (pg. 134),andCommunityAssetMapping(pg.136).Length:30minutes


AgeLevel:12andabove


Preparation:§ Participants should have informally interviewed 2-3 community members as

one of the pre-camp assignments (in the Youth Theater for Peace projects,participantsconductedtheirinterviewsbetweenCamp1andCamp2).Ifthishasnot taken place, ask participants to imagine a “community character” for thisexercise.

§ Inscribeaflipcharttitled“MonologueWork”withthefollowingquestions:“Whatproblems exist in my community, and what do I think should be done?” OR“Whatismyopinionofyouthinmycommunity?”

Approach:• Beginwithabriefenergizerorfocuser,asappropriate.• Highlighttheimportanceofcommunityandopinionleaders(formalleaders,

informal leaders – may be local government, religious leaders, schooldirectors,prominentcharacters,etc).Ask:

o Howdowewantlocalleadersinvolvedinthetheatergroupsand/orForumTheaterperformances?

o Whydowewanttheminvolved?• Ensure that the group discusses the importance of having support for the

allowingthetheateractivitiestooccur,inobtainingperformancespaces,andinadvocacy/promotion.

• Emphasize that understanding local leaders will help Theater Groups towork with them effectively. Remind participants that they have eachinterviewed, formallyor informally, some communitymembers before thiscamp.

• Explainthatthissessionwillusemonologueworktolearnmoreaboutlocalleaders andwho they are,what theirmotivations are,what their interestsareandwhattheirconcernsare,etc.


• Provideanexampleofamonologueofacommunityleader,demonstratingasympatheticportraitofaleadervoicinghisorherthoughtsand/orconcernsaboutyouth in thecommunity,or issues in thecommunity. (It’s importantthat this exercise not vilify leaders, but rather show their own, human,concerns.)

• Provide each participant with a blank sheet of paper, and ask them toimagineanadultintheircommunity-preferablysomeonethattheyrecentlyspoke with - and create a short monologue to answer one of the twoquestionsontheflipchart.

• After5minutes,askforafewvolunteerstoshowtheirmonologueinfrontofthelargegroup.Remindthemtoshowbodylanguage,facialexpression,andtoneofvoice.

• Break participants into groups of 5-6 participants (mixingcommunities/regions), and ask them to share theirmonologueswith eachother.

• Summon participants back together and solicit responses to the followingquestions:

o What did you learn about the motivations of community leadersdepictedinthisexercise?

o Whataretheirmainconcerns?o Whataresomedifferencesbetweenthecommunity leadersthatyou

saw?o WhyisitimportantforusinourTheaterTourworktoapproachand

workwithcommunityleaders?(Writeanswersonaflipchart).o Givenwhatwe now know about community leaders –what do you

think are some strategies to approach them? (Write answers on aflipchart).


DevelopingaThree-PointPresentationPurpose: To plan and deliver a verbal presentation using a simple verbalpresentationformat.Sequencing: Thisactivityshouldtakeplaceafter“OurCommunity”Box (pg.134),Community Asset Mapping (pg. 136) Understanding Community “Characters” (pg.138).Length:30minutes


AgeLevel:12andabove


Preparation:• Prepareaflipchartthatsays“Three-PointPresentation”• Prepare six cue cards based on the Factors that Influence the Audience

Exercise(pg.188)Approach:

• Summarizing previouswork inUnderstandingCommunity “Characters” (pg.138), saying “We’ve all agreed that it is important for us to approach andwork with community leaders and community members. In the nextexercise, we are going to practice preparing formeetingswith communityleaders.”1) FactorsthatInfluenceYourAudience(10minutes):

• Askfor6volunteers,andgiveeachacuecard.• Instruct each person to give a very brief “speech” based on their cue card,

demonstratingpositiveornegativepresentationqualities.• After each person has given their demonstration, solicit ideas from the

audience about what a speaker should do in terms of body language, eyecontact, and tone, in order to make a convincing presentation (write onflipchart).

2) Three-PointPresentations(20minutes):

• Introducetheconceptof theThree-PointPresentation. “Whenyoupresentsomething verbally, you should keep yourmessage clear and to the point.Youshoulddecidewhatthreethingsaremostimportantforyourlistenerstoknoworhear,andfocusonthosethreepoints.”

• Directparticipants to silently review theSteps forDevelopingaThreePointPresentationHandout(pg.213).Askifthereareanyquestions.


• Breakparticipantsintogroupsofthree.• Direct each group to choose a community leader (from one of their own

home communities) and to prepare a Three-Point Presentation they couldgive to this leaderusing theStepsforDevelopingaThreePointPresentationHandout (pg. 213). The presentation should include: (1) defining theobjective;(2) identifyingthe3points; (3) illustratingeachpointasneeded;and (4) addressing any anticipated concerns that the community leadermighthavewithinthepresentation.Allow10minutesforthistask.

• Summonthesmallgroupsbacktogether. Aska fewgroupstovolunteertodemonstrate their Three-Point Presentation. One member of each groupshouldrole-playasthecommunityleader.


EngagingCommunityLeadersPurpose: Todevelopaplantoapproach,engage,andsecurecommunity leaders’supportforTheaterTours.Sequencing: This activity should take place after “OurCommunity”Box (pg. 134),Community Asset Mapping (pg. 136) Understanding Community “Characters” (pg.138)andDevelopingaThree-PointPresentation(pg.140).Length:30-45minutes


AgeLevel:12andabove


Preparation:• Flipchart titled “Strategy to Engage Community Leaders” (see handout, pg.

215)inscribedwiththefollowingquestions:§ WHO?§ WHYdoweneedhis/hersupport?§ WHATarehis/herideasandconcerns?§ WHATshouldwesaytoexplainForumTheater?

Approach:• Remindparticipantsaboutearlierexercises.“Wehaveidentifiedcommunity

leaders in theCommunityAssetMapping exercise (pg.136);wehave talkedabout community leaders’ concerns and motivations in the UnderstandingCommunity“Characters”exercise(pg.138),andwehavetalkedaboutverbalpresentationsintheDevelopingaThree-PointPresentationexercise(pg.140).Now, in your Forum Theater groups, you will develop a strategy foridentifyingcommunityleaderswhoareimportanttoyourTheaterTours,andpreparingtospeakwiththem.”

• Reveal the pre-prepared flipchart titled “Strategy to Engage CommunityLeaders.”

• BreakparticipantsintoForumTheatergroups,andencouragethemtoworktogethertocompletetheStrategytoEngageCommunityLeadersHandout(pg.215).

• When5-10minutes remains in the session,bring thegroupsback togetherandsolicitideasonwhoeachgroupplanstoapproachandwhattheywillsaytohimorher.

• Close the session by emphasizing that Forum Theater groups shouldcompleteonehandoutforeachcommunitywheretheyplantoperform,andtobesuretoworkwithcommunityleadersineachcommunitytoengageandgettheirsupport.


EngagingtheMediaandPublicityPurpose:TocreateastrategyforcreatingpublicityandworkingwiththemediaforTheatertours.Length:45minutes


AgeLevel:12andabove


Preparation:• Flipchartwiththeword“Publicity”.• Flipchartwiththeword“Media”.• Flipchart with a diagram of Publicity/Media Strategy Handout (pg. 221) to

useintheexamplebelow.

Approach:• Facilitateabriefenergizerorfocuserifneeded.• Displaytheflipchartwiththeword“Publicity”andaskparticipantstothink

ofanexampleofpublicitythathasbeenusedintheirowncommunity.Ask,“Considerwhattypeormethodofpublicitywasused.Diditworkwell?Whyorwhynot?”

• Solicit responses fromparticipantsand listmethodsofpublicityonthe flipchart.

ExplainsthatthissessionisaboutpublicityforTheaterTours,andthateachgroupwilldevelopan informalstrategy forpublicityandworkingwith themedia.Becauseeachcommunityisdifferent,eachstrategywillbedifferent.

• Statethatapublicitystrategyisbasedonagoal. Beforegroupscandevelopapublicitystrategy, the teammust firstdecideonagoal. Citea fewof thegoalsofthepublicityexamplesthatparticipantsbroughtupatthebeginningoftheexercise.

• Point out that theater troupes may want to publicize Forum Theaterperformances before the performance takes place in order to attractaudiences;orpublicizethesuccessoftheperformancesaftertheytakeplace;orboth.

• Askparticipantstoturntotheircommunitygroups,anddiscusspublicityfortheir theater tours briefly (3-5 min). Reflection questions might include:“Whatmightthegoalorgoalsoftheirpublicitystrategybe? Whatideasdotheyhave?”

• Bring the group back together and ask a few of the groups to share theirideas.


• Reveal the flipchart thatsays “Media”, and record ideas fordifferentmediaforms. Depending on local context and what is appropriation, this mayinclude: flyers, posters, newspaper, radio, television, internet, email, etc. Itmayalsoincludeoralannouncementsatevents,schools,sportcenters,etc.

• Pointoutthateachtypeofmediareachesadifferentaudience,andthereforethere might need a unique message framed for that media’s audience.Remindparticipantsofhow theyhave tailored theirmessages fordifferentcommunityleaders;pointoutthatthesameprincipleappliestopublicityandmedia,althoughtheaudiencesarebigger.

• Diagramanexampleontheflipchart:o TypeofPublicity:AnnouncementatParent’sMeetingatSchoolo Audience:Parentso Message:Thiseventwillbefunandsafefortheirkids,interestingfor

the parents, and will help kids talk about how to live peacefullytogether

o Notes: Need to get permission from School Director to make thisannouncement.

• Incommunitygroups,directparticipantstoturntoPublicity/MediaStrategyHandout (pg. 221) and develop a preliminary publicity andmedia strategyfortheirTheaterTour(15-20minutes).Youandtheotherfacilitatorsshouldcirculateamongthegroupsandside-coach.

• Draw the groups back together and invite some or all of the groups(depending on time) to briefly present their Publicity/Media strategy. De-briefbyaskingparticipantsiftheyheardanyideasthattheylikeorideasthattheywillincorporateintotheirownPublicity/Mediastrategies.


TheaterTourPlanning&ReportingPurpose:ToreviewthestepsinplanningaTheaterTourusingaplanningtemplateandtoreviewareportingtemplate.Length:45minutes


AgeLevel:12andabove

Materials/Props: Chairs (enough for all participants); Theater Tour CommunityPlanHandout(pg.216);TheaterTourPlanningChecklistHandout(pg.218)

Approach:

• Conduct an appropriate 5-10 minute warm-up to generate enthusiasmamongparticipantsabouttheatertoursintheirregions.

• Gather the group together and remind participants of the work that theyhave completed: they have polished Forum Theater performances andlearnedskillstolearnaboutthechosencommunities,aswellasskillstoworkwithcommunityleadersandmedia.

• Explainthat thisactivitywillbeginadiscussiononthe logisticsofplanningandimplementingTheaterTours.Note,however,thatmostoftheworkwillbe done by the individual tour groups after participants return home andbegintoplanactivities.

• Coverthefollowingpoints:o Eachgroupwillselectanumberofcommunities(anywhere from2-

10, but you may also choose more) to perform Forum Theater induring the coming months. Turn to Theater Tour Community PlanHandout(pg.216)

o Each group will prepare a plan and a budget, and submit thesedocumentstoIREX.

o IREX will provide a small grant to cover the costs of the TheaterTours.

o Each group will perform Forum Theater in communities in yourregion!

o IREXandpartnerorganizationswillprovideadvising,andwillattendsomeperformances.

o Eachgroupwilltakepicturesand/orvideo,andsendreportstoIREX.

• Step1–CommunitySelection–PointoutthatthegroupsmayalreadyhaveideasaboutwheretoperformForumTheater.Ask:“Whataresomereasonstochoosethecommunitieswhereyouwouldliketoperform?”

• Record responses on flipchart. Examples: proximity; youth population;appropriateperformancespace;supportivecommunityleaders.


• Ask Forum Theater groups to begin a discussion aboutwhat communitiestheymightwanttoincludeintheirtoursandwhytheymightresearchsomecommunitiesfurther.

• Step 2 – Community Assessment and Logistics Planning – Explain thatbeforeagroupperformsinacommunity,theparticipantswillneedtolearnmore about that community using tools like theCommunityAssetMappingactivity(pg.136)andtalkingtocommunitymembers. State,“Youwillneedto learnabout the communityand its relevant issuesso thatyoucan tailoryourForumTheaterperformance tobeappropriate. Youwill alsoneed tolearnaboutappropriateperformancespaces,andworkwithlocalleaders.”

• AskgroupstoturntoTheaterTourPlanningChecklistHandout(pg.218),andfollow along as you review each section, allowing time for questions.Emphasizethatdifferentpeopleshouldberesponsibleforeachtask,andthatsettingdeadlineswillbeveryimportant.

• AllowgroupstousetheTheaterTourPlanningChecklistHandouttopracticeplanning, using their home community as an example. Circulate betweengroupstoassisttheminworkingthroughlogisticsandassigningresponsiblepeople.

• Summonthegroupsbacktogetherandastheparticipantshowtheirgroups’planningprocesseswent:

o Whatdoyouthinkwillbedifficultabouttheplanning?o Whatwillbeeasy?o Whatquestionsdoyouhave?

• Emphasize that IREX and partner organizations will be available to assistduringtheplanningandimplementationprocess.


GrantandBudgetManagementPurpose:Tolearnkeyissuesandresponsibilitiesformanaginggrantsandbudgets.Length:45minutes


AgeLevel:12andabove

Materials/Props: Chairs (enough for all participants), GrantMoneyManagementTipsHandout(pg.227)

Preparation: Prepare a flipchart with a summary of the tips on the GrantManagementHandout.

Approach:

• BeginsthesessionbyremindingparticipantsthatIREXwillprovidesmallgrantstosupporttheatertours.Explain,“Inthissession,we’lltalkabouthowtopreparebudgetsandmanagegrantmoney.”

• Say, “First, let’s talk about costs.” Direct participants to turn to theirneighborsandcreateashortlistofthethingsthattheywillneedtospendmoneyonduringtheirtheatertours.(2-3minutes)

• Returning to the largegroup,solicits a listof ideas.Ask, “Whatwill youneedtospendmoneyon?”

• Direct participants to the Theater Tour Budget Template Handout (pg.222),andaskthemreviewitsilently.Ask:“What’smissing?”

• Review the budget template, asking for examples for categories asappropriate. Emphasize that communitieswhich are NOT participants’homecommunitiesmayhavedifferentcostsassociatedwiththem.PointoutthatTheatergroupsmayneedtotraveltocommunitiestwoorthreetimes,forassessmentandpreparation.

• EmphasizesthatthePlanningandBudgettemplatesmustbesubmittedtoIREX, which will review them and, if the costs are realistic andreasonable,awardgrants.

• Asksparticipantsifanyonehasexperiencewithgrantmanagement(iftheparticipantshavepreviously conductedDramaClubswithmicro-grants,remindthemofthisexperience). Whataresomethingsthatweneedtoconsider when managing grants? Solicit ideas and write them on theflipchart.

• Direct participants to review and discuss theGrantMoneyManagementTipsHandout(pg.227).

• Closethesessionbyemphasizingtheimportanceofcarefulplanningandgrantmanagementforprogramstobesuccessful.



ActionPlanningPurpose: To review the “big picture” next steps for Theater Tour Groups in thecomingmonths.Length:45minutes


AgeLevel:12andabove

Materials/Props:Chairs(enoughforallparticipants),workbooks.

FacilitatorNote:Structurethissessionasappropriateforthelevelandprogressoftheirparticipants.Theoutlinebelowislooseandmaybemodifiedasappropriate.

Approach:• Beginsthesessionbyexplainingthatparticipantswillreviewthe“nextsteps”

forwhentheTheaterTourGroupsreturntotheircommunities.Thissessionwilllookagainatmanyofthetopicscoveredinpreviousactivities,revisitthekeypoints,andansweranyquestions.

• Direct participants to theActionPlanningChecklistHandout (pg. 228), andexplainthatthischecklistcanguidethetheatertourgroupsthroughallofthedocumentsandprocessesthattheyhavelearned.

• Review each checklist item carefully with participants. Depending on thelearning styleof the group, youmay cover each point verbally and ask forquestions, ask groups to discuss each point together and then ask thefacilitators any questions they have, or a combination of both styles. Youmay also have groups work together through the checklist independently,instructing them to brainstorm on each point and to make a list of theirquestionsforyou.

• ConcludethesessionbyreiteratingthatIREXandpartnerorganizationswillbeavailabletoprovideguidance,andthatwelookforwardtoworkingwiththetourgroupsandattendingtheForumTheaterperformances.

• • Side-Coaching: A Graffiti Wall (pg. 108) can also be combined with action

planning for participants to express their feelings and to envision how theymightusethelearningfromthisworkshopinthefuture.Tapeflipchartpapertothe walls, two large papers per regional group. Draw a timeline onto thenewsprint.Ononepaper,thereisatimelineforeventsleadinguptotheSummerCamp. On the other paper, there is a timeline for events post Summer Campincluding:onemonthfromnow,sixmonthsfromnow,andoneyearfromnow.Participants use markers to draw symbols and to write text based on theirimpressions,feelings,ideas,anddreamsoncetheygobacktotheircommunitiesandhowtheywillusewhattheylearnedintheworkshoptopromotetoleranceanddialoguetopreventandmitigateconflict.


Chapter 12 – Further Development of Theater Skills and

Models for Tours

RevisionstoForumTheatreModelsPurpose:Tolinkinteractivetheatremethodologywithcasestudyscenariosbasedonobstaclestopeace.

Sequencing: The planning of theater tour models should not occur until afterstudentshavehadotheropportunitiestopracticeusingtheforumtheatermodelintheactivityForumTheater(pg.81).NumberofParticipants:6ormore

AgeLevel:12andup

Materials/Props:Specifictoeachsceneorstory.

Approach:

1) SharingStories:45minutes

§ Divide participants into regional Forum Theatre groups (ideally, participantshave worked together to develop a Forum Theater piece that they will nowrevisit).

§ BeginastorycirclewithanoverviewofeachForumTheatrescenario.§ Inviteoneparticipant toact asa scribeandwritedownkeyplotpointsof the

story.§ Allow a designated youth facilitator in each group (either self-selected or

identified by the group) to encourage discussion about possible alterations tothescenariobasedontheresearcheachmemberconductedinthecommunity.

§ Designate another group member as the time-keeper to ensure that eachpersonthegroupisallowedtospeak,andthatnoonespeaksforlongerthanfiveminutes.Atalkingstickcouldbepassedaround,andonlythepersonwiththestickisabletospeak.

§ After all participants in each group have shared their feedback, instruct thegroup to rewrite the fivemainplotpointsbasedon theadjustedscenario (seebelow)

§ Participants may tweak their original performance, or may put together anentirely new Forum Theater performance, depending on the outcomes of thepreviousdiscussion.Facilitatorsshouldcoacheachgroupaccordingly.


§ Refer to the Forum Theater activity (pg. 81) to guide students through theprocessofre-developingtheirForumTheatermodelsordevelopingnewForumTheatermodels.


FramingPerformancesPurpose:Toplanandrehearseopenings/closingsofperformancesandgeneratingaudiences.Length:90minutes


AgeLevel:Alllevels

Materials/Props: Chairs (enough for all participants), manuals, two flip charts,looseflipchartpaper,markers

Preparation:• Prepareflipchartswithpointsa-e(below)

Approach:§ State that this session is based on creating a framework around the actual

performance,includinggeneratingaudiencesandframingperformances.§ Usingflipcharts,instructparticipantsthattheywill:

(a) Decideonaplanofentry.Examples:Blowahornannouncingthetheatreperformance intown;paradethroughthestreets togainattention;playinstrumentsandsingsongsoutsidethevenue

(b) Establishhowyouwillstarttheperformance:Announcetitleofshowandexplain the objective of the performance, overview of project, and thestructureofforumtheatre

(c) IntroduceJokerroleandcharactersfromtheForumTheatre(d) Providerules/regulationsforaudienceparticipation(e) Decide how you will close the theatre performance. Examples:

Dancing/singing offstage following the interventions; talk-back withactors,etc.

§ Separateparticipants intotheir forumtheatregroupstodiscusstheabove fiveagenda items. Decide upon a note taker and time-keeper. Recommend thatgroupsspend5minutesoneachtopic.

§ Returntothelargegroupandalloweachgrouptopresenttheirplanforframingperformances.

§ Facilitateabriefreflectionsession:“Whatgreat ideasdidyoulearn fromothergroupsthatyoucouldincorporateintoyourownJokering?”

§ Close by recommending that each group incorporate ideas into any actualtheaterperformancesduringtherestofthecamp.


AudienceManagementPurpose: To role-play potential challenges which may be encountered duringForumTheatreaudienceinterventions.AgeLevel:Alllevels

Materials/Props: Chairs (enough for all participants); Pieces of paper with adifferentexampleofaudiencechallengeswrittenoneach.

Approach:

• As a large group, brainstorm potential challenges which participants may

face during forum theatre performances. Challengesmay include: audiencemembers talking too long, large number of intervention volunteers,individual audience members monopolizing discussion, lack of audienceparticipation.

• Breakparticipantsintosmallgroups,andgiveeachgroupwithachallengetodiscuss(distributepreparedpiecesofpaper).

• Direct groups to create an improvised scenario based on the proposed

challenge.

• Inviteeachgrouptopresenttheirimprovisedscenario.

• Allowaudiencememberstoyell“Freeze!”atanypoint,andtotaketheroleofthejokerandresolvethestagedproblem.

• Following each intervention, facilitate a brief discussion of the problem

presentedandsolutionsproposed.Side-Coaching:Potentialsolutionstothesuggestedproblemsinclude:

a) Audiencememberstalkingtoolong:Setatimelimitforanycomments.b) Large number of intervention volunteers: Suggest that since there are so

many volunteers wishing to share their intervention suggestions, thataudiencemembers pairwith someone next to them and share their ideas.Call on two or three volunteers, asking each time that new comments bedifferentfromtheonesalreadyshared.

c) Individual audience membersmonopolizing discussion: Ask for volunteerswhomhavenotspokenyet,orsuggestaudiencemembersofdifferentagesorgenders.

d) Lackofaudienceparticipation:Warm-upexercisesareimportantforhelpingaudience members feel comfortable. Also, prompt audience members tointervenebyfirstdiscussingtheirideasforinterventions.


HotSeatPurpose: To deepen participants’ understanding of their characters’ motivationsandtraitsthroughrole-play;prepareactorsforaudienceinterventions.AgeLevel:Alllevels

Materials/Props:Chairs(enoughforallparticipants)

Approach:

• Beginwithanenergizerorfocuser,asneeded.• Explain that inorder tobe ready foraudience interventions it is important

forallactorstohaveadeepunderstandingoftheircharacters’motivations,beliefs,traits,andbehaviors.

• Demonstrate this activitywith one ForumGroup orwith a select groupofparticipants(askwhowouldliketovolunteer).

• Separateparticipantsintoforumtheatregroups.Direct each actor to take a turn sitting in an empty chair and acting incharacter,orastheircharacter.

• Prompt the other participants to ask the character question, which thecharactermustanswer‘incharacter.’

• Iftimeallows,eachgroupshouldrunthroughtheirForumTheaterplayagainbeforeclosing,andthenreflectonwhathaschangedorimprovedabouttheirplay.

Side-Coaching:Yourquestionforparticipantsshouldrelatedirectlytotheirspecificstories’plots,actionsandtherelationshipsbetweencharacters,butsomepotentialquestionsforspecificcharactersmayinclude:

• Whatdoyouwantmost?• Howdoyouhopetoachieveyourobjective?• Whatisblockingyoufromachievingyourgoal?• Howdoyoufeelabouttheprotagonist?Theantagonist?Thesituation?


GLOSSARY

Antagonist:thecharacterwhogoesupagainstoropposestheprotagonist.Dialogue:twoormorepersonsconversing,adiscussionaimedatresolution.Energizers: physical activities during workshops to add energy and enthusiasm,usuallyafteramainactivityoraftermomentswhenthegroupneedstore-energize.Experiential learning:astyleofteachingandlearningdevelopedbyDavidA.Kolbbased on a reflection on what is happening during the learning cycle to includeconcrete experience, observation and reflection, forming abstract concepts, andtestinginnewsituations.ForumTheatre: techniquedevelopedbyAugustoBoal toencouragethepublic toenvisionandenactchange.TheForumTheatremodelillustratestheobstaclesfacedby the protagonist of a true story, with a series of obstacles that are identifiedduring the rehearsal process. In the actual performance of Forum Theatre, theaudienceisaskedtomakeinterventions,inthisway,rehearsingforreallife.Freezeframe:astillimage(seebelow),butinresponsetothefacilitatorcallingforamomentaryfreeze.Image gallery:collectionofstill imagesasacollective.Viewerscanexperiencean‘imagegallery’asawiderangeofvariedperspectivesexpressedthroughtheimages.Joker:thefacilitatorofaforumtheatrepiece,mediatinginterventionsbetweentheaudienceandperformers.Monologue:aspeechdeliveredbyasinglepersondirectlytotheaudience.Oppression: oftenused inAugustoBoal techniques to suggestpowerdifferences,between the ‘oppressor’ or person in power who is limiting the ‘oppressed’.Oppressionistheuseofauthorityofpowertooverpowerothers.Physicalization of character: emphasis on the body characteristics andpersonificationofcharactertraits.Protagonist:theprincipalcharacterinastory.Spect-Actor: the spectator or audience member who intervenes in the dramaticactionandthusbecomesa‘spect-actor’.


Sculpting/sculpture:usingbodiestocreateimages.‘Sculpting’asifoneparticipantis the clay, and the other participant the sculptor, refining movements andexpressions.Site-specific: a project developed to take place in a particular location, takinglocationintoaccountwhenplanningandcreatingtheproject.Still image: a non-verbal physical representation using bodies to communicate athemeorstory.

BIBLIOGRAPHY

Baim,C.,SallyBrookes,andAlunMountford(2002)TheGeeseTheatreHandbook:

DramawithOffendersandPeopleatRisk.Hampshire:WatersidePress.

Boal,A.(1992)GamesforActorsandNon-Actors,London:Routledge.

Boal,A.(1979)TheatreoftheOppressed.NewYork:UrizenBooks.

Chen,C.(2003)CoachingTraining,Alexandria:AmericanSocietyfor

Training&Development.

Condon,L.(2004)Warm–UpRing:KeystoEnergizingYourGroup:socio-dramatic

andpsycho-dramaticwarm–ups.

Fox,H.(2010)ZoomyZoomyImprovGamesandExercisesforGroups,NewYork:

TusitalaPublishing.

Rohd,M.(1998)TheatreforCommunity,Conflict&Dialogue:TheHopeis

VitalTrainingManual.Portsmouth:Heinemann.

Salas,J.(1996)ImprovisingRealLife:PersonalStoryinPlaybackTheatre.NewYork:

Tusitala.

Spolin,V.(1963)ImprovisationfortheTheatre.Illinois:Northwestern

UniversityPress.


APPENDICES&HANDOUTS

Training of Trainers – Sample Agenda

Youth Theater for Peace Kyrgyzstan

Training of Trainers - Chui

July 15-July 22, 2010

Day One (Thursday, July 15): Arrival and Welcome

Time Activity Notes

TBD Trainer Arrivals

TOT Grounds Orientation

Focus: To welcome and orient trainers

Day Two (Friday, July 16): Introduction

Time Activity Notes

7:30-8:45 Breakfast

9:00-10:30

9:00-9:15

9:15-9:30

9:30-9:45

9:45-10:30

Session One

Devampiah

Big Wind Blows

Name Game

Welcome Exchange

Focus: To introduce trainers and explore regional cultural forms.

10:30-10:45 Coffee Break


(10:45-12:00)

10:45-11:00

11:00-11:15

11:15-12:00

Session Two

Spectrogram

Introduction to the Methodology

Facilitation

Focus: To introduce the methodology.

12:00-13:00 Lunch

(13:00-14:15)

13:00-13:15

13:15-13:45

13:45-14:15

Session Three

Manual Review

Ground Rules

Expectations

Focus: To set ground rules and share expectations.


(14:30-16:30)

14:30-14:40

14:40-15:10

15:10-15:55

15:55-16:00

16:00-16:15

16:15-16:30

Session Four

Space

Across the Room

Monologue Work

Energizer

Stew Pot

Q & A

Closure: Stew Pot

Focus: To sample curriculum structure including warm-up,

lead-in, main activity, energizer, and closing activity.

16:30-18:30

Free Time

18:30-19:30 Dinner

19:30-22:00 Evening Entertainment: Regional Share


Day Three (Saturday, July 17): Image Theater and Playback Theater

Time Activity Notes

7:30-8:45 Breakfast

8:45-9:00 Trainer Duo

9:00-10:30

9:00-9:20

9:20-9:40

9:40-10:00

10:00-10:30

Session One

Elephant/Tree/Boat

Puppet Master

Musical Dialogue

Three Image Story

Focus: To introduce participants and explore regional cultural

forms.


(10:45-12:00)

10:45-11:15

11:15-12:00

Session Two

Machine

Fluid Sculptures

Focus: To introduce the methodology, and to set ground

rules.

12:00-13:00 Lunch

(13:00-14:15)

13:00-14:15

Session Three

Obstacle Tree

Focus: To share cultural forms that may later be incorporated

in forum theater.


(14:30-16:30)

14:30-14:45

14:45-15:15

15:15-16:15

Session Four

Singing Tag

Sculptor/Clay

Director Sculpt

Focus: To sculpt image theatre.


16:15-16:30 Role on the Wall

16:30-18:30

Free Time

18:30-19:30 Dinner

19:30-22:00 Evening Entertainment: Visiting Theatre or Music Performance

Day Four (Sunday, July 18): Forum Theater

Time Activity Notes

7:30-8:45 Breakfast


9:00-10:30

9:00-9:10

9:10-9:20

9:20-9:40

9:40-10:30

Session One

Blind Cars

Forest of Sounds

Commedia Dell Arte

Yssyk-Kule

Focus: To build trust and kinesthetic awareness, learning

about characterization.


(10:45-12:00)

10:45-12:00

Session Two

Forum Theatre Stories

Creating the Forum Theatre Model

Focus: To use personal narratives devising forum

theatre.

12:00-13:00 Lunch


(13:00-14:15)

13:00-14:15

Session Three

Rehearsing Forum Theatre

Focus: To rehearse forum theater.


(14:30-16:30)

14:30-16:15

16:15-16:30

Session Four

Rehearsing Forum Theatre cont.

Q & A

Focus: To rehearse forum theater.

16:30-18:30

Free Time

18:30-19:30 Dinner

19:30-22:00 Evening Entertainment: Visiting Theatre or Music Performance

Day Five (Monday, July 19): Physical Theater and Forum Theater

Time Activity Notes

7:30-8:45 Breakfast


9:00-10:30

9:00-9:15

9:15-9:30

9:30-9:45

10:00-10:30

Session One

Body Sounds

Spitfire Canon

Amplification Circle

What are you doing?

Focus: To learn voice exercises and improvisational games.



(10:45-12:00)

10:45-11:00

11:00-11:30

11:30-12:00

Session Two

Circle Dash

Freeze!

Rehearse Forum Theatre

Focus: To practice impromptu ideas and text towards devising

forum theatre.

12:00-13:00 Lunch

(13:00-14:15)

13:00-14:15

Session Three


Focus: To rehearse forum theatre.


(14:30-16:30)

14:30-16:15

16:15-16:30

Session Four


Joker Role

Star Configuration

Focus: To prepare forum theatre performances.

16:30-18:30

Free Time

18:30-19:30 Dinner

19:30-22:00 Evening Entertainment: Forum Theatre Performances

Day Six (Tuesday, July 20): Curriculum Workshop/Outdoor Activities

Time Activity Notes

7:30-8:45 Breakfast

8:45-12:00 Swimming


12:00-13:00 Lunch

(13:00-14:00)

13:00-13:15

13:15-14:15

Session One

Ball Toss

What Next?

Focus: To brainstorm possible uses of theatre methodology in

trainers communities.


(14:30-16:30)

14:30-14:45

14:45-15:05

15:05-15:30

15:30-16:30

16:30-17:00

17:00-17:30

Session Two

Tiger/Tree

Kabish/Kaboo

Ship Deck

Curriculum Workshop

Graffiti Wall

Review of Summer Camp Logistics

Focus: To learn remainder of exercises in the manual and

plan curriculum.

17:30-18:30

Free Time

18:30-19:30 Dinner

19:30-22:00 Evening Entertainment: DJ Dance Party

Day Seven (Wednesday, July 21): Group Workshops

Time Activity Notes

7:30-8:45 Breakfast



(9:00-10:30)

9:00-9:15

9:00-10:15

10:15-10:30

Session One

Intro: Preparation

Group One-Team A

Critical Response Feedback

Focus: To lead a one hour DCT workshop.


(10:45-12:00)

10:45-11:45

11:45-12:00

Session Two

Group One-Team B



12:00-13:00 Lunch

(13:00-14:15)

13:00-14:00

14:00-14:15

Session Three

Group Two-Team A




(14:30-16:30)

14:30-16:15

16:15-16:30

Session Four

Group Two-Team B



16:30-18:30

Free Time

Day Eight (Thursday, July 22): Departure

Time Activity Notes

7:30-8:45 Breakfast

8:45 Departure to Home Communities


Camp One – Sample Agenda

Youth Theater for Peace Kyrgyzstan

Camp 1 - Chui FIRST CAMP SESSION (August 9-August 19, 2010)

Day One (Monday, August 9): Arrival and Welcome

Time Activity Notes

16:00-17:00 Participant Arrivals

Camp Grounds Orientation

Focus: To welcome and orient participants

17:00-18:30 Trainer Meeting

18:30-19:30 Dinner

19:30-21:00 Welcoming Remarks Introductions

Pre-Program Survey

Day Two (Tuesday, August 10): Introduction

Time Activity Notes

7:00-8:30 Breakfast

8:00-8:45 Trainer Prep Meeting

8:45-9:00 Announcements

(9:00-10:30)

9:00-9:15

Session One-Plenary

Devampiah (15 min)

Focus: To introduce participants and explore regional cultural

forms.


9:15-9:35

9:35-9:50

9:50-10.30

Big Wind Blows (20)

Name Game (15)

Welcome Exchange (30)


(10:45-12:00)

10:45-11:15

11:15-11:30

11:30-11:45

11:45-11:55

11:55-12:00

Session Two-Plenary

Spectrogram (30)

Introduction to the Methodology (15)

Expectations (15)

Q & A (10)

Shake Out (5)

Focus: To introduce the methodology, and to set ground

rules.

12:00-13:00 Lunch

(13:00-14:15)

13:00-13:15

13:15-13:45

13:45-14:15

Session Three-Plenary

Space (15)

Ground Rules (15)

(Move to Break Out Groups)

Regional Share (30)


in forum theater.


(14:30-15:45)

14:30-15:30

15:30-15:45

Session Four-Plenary

Regional Share (60)

Closure: Stew Pot (15)


in forum theater.

15:45-19:00

Youth Free Time (Volunteer-Led Activities)

17:00-18:00 Trainer Review Meeting


18:00-18:30 Staff Meeting

19:00-20:00 Dinner

20:00-21:30 Regional Performances

Day Three (Wednesday, August 11): Image Theater and Playback Theater

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

9:15-9:35

9:35-9:50

9:50-10:10

10:10-10:30

Session One-Plenary

Warm-Ups: Good Morning, Ball Toss (15)


Elephant/Tree/Boat (20)

Puppet Master (20)

Musical Dialogue (20)

Three Image Story (20)

Focus: To establish group dynamics, build trust, and introduce image theater.


(10:45-12:00)

10:45-11:15

11:15-12:00

Session Two – Break Out Groups

Machine (30)

Fluid Sculpture (45)

Focus: To focus on personal stories through Playback

Theatre

12:00-13:00 Lunch

(13:00-14:15) Session Three-Plenary Focus: To use theatre exercises for participants to explore


13:00-13:15

13:15-13:45

13:45-14:15

Trainer Duo (15)


Across the Room (30)

Monologue Work (30)

similarities/differences.

14:15:14:30 Coffee Break

(14:30-15:45)

14:30-15:00

15:00-15:30

15:30-15:45

Session Four-Break Out Groups

Monologue Work Cont. (30)

Role on the Wall (30)

Q&A (15)

15:45-19:00 Youth Free Time/Volunteer-Led Activities



19:00-20:00 Dinner

20:00-21:30 Evening Entertainment: Visiting Theatre Performance

Day Four (Thursday, August 12): Image Theater

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

Session One -Plenary

Circle Dash (15)

(Move to Break Out groups)

Focus: To analyze causes of conflict in the community


9:15-9:30

9:30-9:45

9:45-10:30

Blind Cars (15)

Forest of Sounds (15)

Obstacle Tree (45)


(10:45-12:00)

10:45-11:00

11:00-12:00

Session Two-Break Out groups

Sculptor/Clay (15)

Director Sculpt (60)

Focus: To use image theatre as a tool for discussion.

12:00-13:00 Lunch

(13:00-14:15)

13:00-13:30

13:30-14:15


Commedia Dell Arte (30)


Yssykule (45)

Focus: to develop theatrical skills in characterization


(14:30-15:45)

14:30-14:40

15:40-15:45


Story Circle (60)

(Move to Plenary)

Singing Tag (15)

Focus: to share personal stories as a basis for forum theater

15:45-19:00 Free Time



19:00-20:00 Dinner

20:00-21:30 Evening Entertainment: Participant KVN (led by trainers)


Day Five (Friday, August 13): Improvisation and Introduction to Forum Theater

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

9:15-9:30

9:30-9:45

9:45-10:05

10:05-10:30

Session One-Plenary

Body Sounds (15)


Spitfire Cannon (15)

Amplification Circle (15)

What are you doing? (20)

Freeze (25)

Focus: To develop skills in improvisation for forum

theatre


(10:45-12:00)

10:45-11:15

11:15-12:00

Session Two-Plenary

Forum Theater Introduction - Cinderella (30)


Forum Theater Model – Five Freeze Frames (45)

Focus: to begin the development of scenes for forum theatre using image

theatre

12:00-13:00 Lunch

(13:00-14:15)

13:00-13:15

13:!5-14:15

Session Three-Break Out Groups

Energizer (Trainer Choice)

Forum Theater Model Continued- Thought

Focus: to develop a basic forum theater model


Tracking/Improvisation (60)


(14:30-15:45)

(14:30-15:30)

15:30-15:45


Forum Theatre Model Continued – Improvisation (45)

(Move Back to Plenary)

Star Configuration (15)

Focus: To continue developing forum theatre using

improvisation

15:45-19:00 Free Time



19:00-20:00 Dinner

20:00-21:30 Evening Entertainment: Movie

Day Six (Saturday, August 14): Forum Theatre Rehearsals

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

9:15-10:30

Session One-Plenary

Tiger/Tree (15)

Forum Theatre: Joker Role

Focus: to integrate the joker role into forum theatre


(10:45-12:00)

Session Two-Break Out Groups



10:45-11:00

11:00-12:00

Kabish/Kaboo (15)

Forum Theatre – Rehearsals (60)

12:00-13:00 Lunch

(13:00-14:15)

13:00-14:15


Forum Theatre Sharing


(14:30-15:45)

14:30-15:30

15:30-15:45


Forum Theatre Sharing

Q & A (15)

13:45-19:00 Activities / Free Time



19:00-20:00 Dinner

20:00-21:30 Evening Entertainment: Forum Theatre Performance

Day Seven (Sunday, August 15): Outdoor Activities / Tour of Ruhordo

7:00-8:30 Breakfast


(9:00-12:00) Session One

Tour of Ruhordo

12:00-13:00 Lunch

(13:00-14:15)

13:00-14:15

Session Two

Teambuilding Activities (Youth)

Focus: to develop curriculum for Trainer-led activities on Day

Eight


Curriculum Planning (Trainers)


14:15-19:00 Supervised Swimming/Activities



19:00-20:00 Dinner


Day Eight (Monday, August 16): Curriculum Workshops

7:00-8:30 Breakfast



(9:00-12:00)

9:00-9:30

9:30-9:45

9:45-10:30

Session One-Plenary

Dr. Tangles (30)

Manual Review (15)

Preparation for Interactive Games – Youth Led (45)

Focus: to review progress made during the summer camp and

prepare youth to lead games on their own


(10:45-12:00)

10:45-12:00

Session Two-Plenary

Trainer-Led Activities (Group 1)

Focus: to respond to issues/themes raised by youth

during the camp through a specially designed workshop

12:00-13:00 Lunch

(13:00-14:15)

13:00-14:15





(14:30-15:45)

14:30-15:45



15:45-19:00 Free Time



19:00-20:00 Dinner


Day Nine (Tuesday, August 17): Curriculum Workshops

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

9:15--10:30

Session One-Plenary

Yes, Let’s! (15)

Youth Led Workshop:

Interactive Games (75)

Focus: to gain practice leading interactive games


(10:45-12:00)

10:45-12:00

Session Two-Plenary


Focus: to respond to issues/themes raised by youth

during the camp through a specially designed workshop

12:00-13:00 Lunch

(13:00-14:15) Session Three-Plenary

Making It Your Own: Adapting

Focus: to adapt methodology to regional context and

incorporate use of cultural


13:00-14:15 to Regional Context forms


(14:30-15:30)

14:30-15:30


Graffiti Wall (60)

15:30-15:45 Q & A

15:45-19:00 Free Time



19:00-20:00 Dinner

20:00-21:30 Evening Entertainment: Forum Theatre Performances

Day Ten (Wednesday, August 18): Evaluation

Time Activity Notes

7:00-8:30 Breakfast



(9:00-10:30)

9:00-9:15

9:15-10:30

Session One-Plenary

Ship Deck (15)

Youth Led Workshop (75)

Focus: to gain practice leading interactive games


(10:45-12:00)

10:45-12:00

Session Two-Plenary

Theatrical Evaluation: Across the Room, Spectrogram, Role

on Wall

Focus: to reflect upon and evaluate the camp

12:00-13:00 Lunch

(13:00-14:15) Session Three-Plenary Focus: to develop micro-grant


13:00-13:15

13:15-14:15

Trainer Duo (15)

Micro Grants: Theatre Tours and Drama Clubs

projects linking Camp 1 and Camp 2


(14:30-16:00)

14:30-15:30

15:30-15:45

15:45-16:00


Talking Stick (60)

Programmatic Remarks and

Q&A (15)

Post-Camp Survey (15)

15:45-19:00 Free Time



19:00-20:00 Dinner


Disco

Day Eleven (Thursday, August 19): Departure

Time Activity Notes

7:30-8:30 Breakfast

8:30 Departure to Home Communities


Camp Two – Sample Agenda

Youth Theater for Peace Tajikistan

Camp 2 – Varzob

Sughd and Khatlon Participants (August 19 - August 26, 2010)

Day One (Thursday, August 19): Welcome and Orientation

Time Activity Notes

12:30-13:30 Lunch

14:00-15:00

16:00-17:00

Participant Arrivals

Camp Grounds Orientation

Welcoming Remarks

Introductions

Overview of the Week & Workbook

Workbooks distributed to participants

19:30-20:30 Dinner

20:30-22:30 Evening Entertainment: Forum Theatre Film;

Disco

Day Two (Friday, August 20): Trust-Building and Reflection on Methodology

Time Activity Notes


7:00-8:00 Breakfast

(8:00-10:15)

8:00-8:15

8:15-8:30

8:30-9:00

9:00-9:20

9:20-10:15

Session One

Birthday Party

3 Irish Duels

1,2,3 Bradford

Blind Hugs

Rules and Expectations

Focus: to break the ice and build trust between

participants from two regions


(10:30-12:30)

10:30-10:45

10:45-11:00

11:00-12:00

12:00-12:15

12:15-12:30

Session Two

Trust Falls

“Tour of a Place”

Reflection on Theater Methodology and Activities

Overview of Theatre Tour Grants

Closing Circle

Focus: to build trust and allow participants from

two regions to reflect on their experiences with

the methodology

13:00-14:00 Lunch

14:00-19:30 Rest and Supervised Free Time for Youth (Sports, Additional Theater Workshops)


19:30-20:30 Dinner

20:30-22:30 Evening Entertainment: Disco

Day Three (Saturday, August 21): Facilitation, Group Dynamics, and Leadership

Time Activity Notes


7:00-8:00 Breakfast

(8:00-10:15)

8:00-8:20

8:20-8:40

8:40-9:00

9:00-9:45

9:45-10:15

Session One

Name Game

The Big Wind Blows

Space

Facilitation

Group Dynamics

Focus: to allow participants to find commonalities and

difference in the group, and to teach skills in

facilitation and awareness of group

dynamics


(10:30-12:30)

10:30-11:30

11:30-12:30

12:30-12:45

Session Two

Youth-Led Exercises

Leadership

Closing Circle

Focus: to gain practice in leading interactive

games

Focus: to identify leadership styles, traits,

and areas for improvement

13:00-14:00 Lunch



19:30-20:30 Dinner



Day Four (Sunday, August 22): Forum Theater and the Joker Role

Time Activity Notes

7:00-8:00 Breakfast

(8:00-10:15)

8:00-9:00

9:00-10:15

Session One

Musical Dialogue

Forum Theater

Focus: to review Forum Theater methodology

and structure

10:15-10:30 Coffee Break Ramazan

(10:30-12:30)

10:30-11:30

11:30-12:15

12:15-12:30

Session Two

Forum Theater

The Joker

Closing Circle

Focus: to review the role of the Joker in Forum

Theater

13:00-14:00 Lunch



19:30-20:30 Dinner


Day Five (Monday, August 23): Framing Performances and Audience Management

Time Activity Notes

7:00-8:00 Breakfast

(8:00-10:15)

8:00-9:00

9:00-10:15

Session One

Framing Performances

Joker Interventions

Focus: to learn techniques for opening

and closing performances and manage interventions



(10:30-12:30)

10:30-11:30

11:30-12:15

12:15-12:30

Session Two

Audience Management

Rehearsal Techniques

Closing Circle

Focus: to learn strategies for managing audiences

and encouraging participation

13:00-14:00 Lunch


19:30-20:30 Dinner

20:30-22:30 Evening Entertainment:

Forum Theater Performances

Day Six (Tuesday, August 24): Engaging the Community

Time Activity Notes

7:00-8:00 Breakfast

(8:00-10:15)

8:00-8:15

8:15-9:15

9:15-10:15

Session One

Warm-Up

“Our Community” Box

Community Asset Mapping

Focus: to share and map assets found in

participants' home communities


(10:30-12:30)

10:30-11:00

11:00-11:30

11:30-12:00

12:00-12:45

Session Two

Understanding Community Characters

Developing a Three-Point Presentation

Engaging Community Leaders

Engaging Media and Publicity

Focus: to learn and practice strategies for engaging community

leaders and the media in preparation for Theater

Tours


12:45-13:00 Closing Circle

13:00-14:00 Lunch


19:30-20:30 Dinner


Forum Theater Performances

Day Seven (Wednesday, August 25): Organizing Theater Tours

Time Activity Notes

7:00-8:00 Breakfast

(8:00-10:15)

8:00-8:45

9:00-11:00

Session One

Theatre Tour Planning & Reporting

Youth Led Workshop &

Forum Theater Performance (includes Coffee Break)

Focus: to review logistics of planning and

reporting about theater tours

Guest: Deputy Chief of Mission

(11:00-12:30)

11:00-12:00

12:00-12:30

Session Two

Grant and Budget Management

Closing Circle

Focus: to learn basic grant and budget

management skills for the Theater Tours

13:00-14:00 Lunch


18:00-18:30 Action Planning Focus: to chart a course of next steps for work on

Theater Tours and sharing the methodology


in home communities

19:30-20:30 Dinner


Forum Theater Performances and Closing Ceremony

Day Eight (Thursday, August 26): Departure

Time Activity Notes

7:00-8:00 Breakfast

8:00

Departure to Home Communities


Joker’s Checklist

DearJoker,

Thebigdayoftheperformanceishere!Yourroleiscrucialtomakingsuretheaudiencemembersarewell-preparedtointeractwiththeactorsandworktowardsfindingasolution.Whetherit’syourfirsttimeoryourtenthtimejokeringaForumTheaterplay,the“cheatsheet”belowwillhelpyoubeaneffectiveJoker.

ü Welcometheaudience:Afterthegrouphasenteredthespaceandattracted

anaudience(bysingingasong,dancingaculturaldance,playingmusic,etc.),greettheaudience.Tokeeptheaudiencefullyengaged,makesuretheyunderstandthatyouarenotsettingyourselvesabovethem,youarepartofthecommunityandthepurposeoftheplayistohelpfindasolutiontogetherfortheproblem.

Pleasealsointroducethetitleoftheplay,andthenintroducethecharacters.Forexample,youmightsay:“Welcomeeveryone!WeareForumTheatergroup“Friendship”andwearepleasedtopresentaperformancetoyoutoday.Wearenotprofessionalactors.Wearemembersofthecommunityjustlikeyouandweneedyourhelptosolveaproblem.Thetitleofourplayis“ProblemattheBorder,”andthecharactersareAdil,hissister,Dinara,theirfather,Muradim,agroupofyoungmenacrosstheborder,andthelocalakim(villageleader).”

ü Warmuptheaudience:conductaquickintroductiongameorwarm-upexercise.Keepinmindthelimitationsoftheperformancespace.Itmightbedifficultandtime-consumingforaudiencememberstogetoutoftheirseatsandformacircle,ordoaveryactivegame.Youmightasktheaudiencememberstointroducethemselvestothepeoplenexttothemandfindfivethingstheyhaveincommon.Or,asktheaudiencetostandupanddrawacirclewiththeirrighthand;then,drawacrosswiththeirlefthand;then,performbothmovementssimultaneously.

ü Telltheaudiencetheywillbeinvolved:Explainthattoday’sperformanceisdifferentfromatraditionaltheaterperformance,andthattheaudiencewillbecomeinvolvedinsuggestingpossiblesolutionstothestagedproblemsintheplay.Don’texplaintherulesandprocessforinterventionsyet–you’llexplainitaftertheplayhasbeenperformedonce.Keepyourexplanation


simple.Forexample,youmightsay:“Youmayhavebeentothetheaterbefore,butwhatyou’regoingtoseetodayisdifferentthanmostperformances.Ourtheatergroupwillshowyouaplaywithaproblem,andlateryou’llhaveachancetohelpusfindasolution.Pleaseobservetheplaycarefully,andthinkabouttheproblemsyousee.Rememberanymomentswhereyoufeelangry,oryoufeelthatcharacterscouldhavetakenadifferentaction.”

ü Givetheactorsthesignaltobegin.Theyperformitonce,andendtheplay

withtheunresolvedproblemasa“freezeframe.”

ü Claptosignaltheendof“partone”oftheperformance,andasktheaudiencethefollowingquestions:

Whathappened?Whatdidyousee?Whatwasthemainproblem?Aretheresimilarproblemsinyourcommunity?Whoisthemaincharacter-whoseemstobethehero/heroine/victimofthestory?(findtermsthattheywillunderstand)Whoisthepersonwhoisthecauseofthisproblem/villain?(findtermsthattheaudiencewillunderstand)Bemindfuloftimeduringthisdiscussion.Youmaybeabletotakeonlyafewcommentsfromtheaudienceforeachquestion.Also,selectfeedbackfromvariedaudiencemembersrepresentingdifferencesinage,gender,ethnicity,etc.

ü Introducetheconceptandrulesforinterventions:Telltheperformance

willbepresentedasecondtime.Thistimetheaudiencecanyell“Stop!”atanypointinwhichtheythinkthattheprotagonistcouldhavedonesomethingdifferentlytocreateadifferentoutcome.Identifytheactorwhoisplayingtheprotagonist(hero/orheroineorvictimofthestory)soeverybodyknowswhichcharactercanbereplaced.Forexample,youmightsay:“Nowwearegoingtoshowyoutheperformanceasecondtime.Thistime,whenyouthinkthishero/heroine(pointathim/her)couldhavedonesomethingdifferentlytocreateadifferentoutcomeandyouhaveanidea,youcanyell“Stop!”Ouractorswillfreezeintheirplaces,andyoucancomeonstagetoreplacetheprotagonistandtryyouridea.Iseverybodyready?Let’spracticeafewtimes–1,2,3“Stop!”Howdidthatfeel?Let’stryitagain–1,2,3“Stop!OK,nowwe’llstartthesecondpartoftheperformance!”

ü Givetheactorsthesignaltoperformasecondtime,andwaituntilan

audiencememberyells“Stop!”Theactorswillfreeze.Leadtheaudienceina


bigroundofapplauseforthepersonwhosays“Stop!”Taketheaudiencememberbythehandandleadhim/hertothestage.Askhimwhenhewouldliketointervene(whichscene).Taptheshoulderoftheactorplayingtheprotagonistandaskhim/hertostepaside.

ü Claptostartthenextroundoftheperformancewiththeintervention.

Aftertheprotagonistperformshisorherinterventionlongenoughsoyoucanseewhetherornotitworked,freezetheaction,thanktheaudiencemember,andguidetheaudiencememberbacktohisorherseat.

ü Asktheaudiencewhethertheinterventionhaschangedtheoutcomeof

theproblem.Ifso,how?Iftheproblemhasbeensolved,isthesolutionrealisticorisitmagic?

ü Iftheproblemhasnotbeensolvedinamannersatisfactorytothe

audience,continuetheplayfromthenextscene.Waituntilanotheraudiencememberyells“Stop!”tostageanintervention.

ü Repeattwoorthreetimes,dependingontimeavailability.

ü Afterafewinterventions,endtheperformanceandfocustheaudienceon

findingreal-lifesolutions.Forexample,youmightsay:

ü “Wedon’thavetimeforanymoreinterventions.Butwedohavealittletimeforadiscussiontogether.Whatdoyouthinkwecoulddoinourfamiliestochangethissituation?(Elicitanswersfromtheaudience).Anddoyouthinkthereisanythingourcommunitycoulddo?(Youcouldpromptwithelementswithinthecommunity:schools,localpolice,communityorganizationsorcommunityleadersetc.)Doyouthinkthereisanythingthegovernmentcoulddotosolvethisproblem?“

Afterthediscussionyouwillneedtoencouragethemtokeepconsideringsolutionsforthisproblem.“It’snowtimetoendourperformanceanddiscussion,butyouwillhavetheopportunitytotryout‘reallife’interventionsforsimilarproblemsinthecommunity.Pleasekeeptalkingaboutthisproblemwithyourfriends,yourrelatives,yourcommunityleadersandteachers.Ifwekeeptalkingwewillfindmanypossiblesolutionsthatmayworkforus.”(Ifthereistime,askaudiencememberstodiscussthiswiththepersonsittingnexttothem.)

ü Endtheperformancewithaclosingtoprovideasenseofunity.Thismay

includesingingasongwiththeaudience,dancingoffthestage,orstatingthatactorswillstaybehindforanyonewhomaywanttodiscusstheirstorieswhichrelatetotheperformance.Agraffitiwall(posterpaperspreadacrossonewall)couldbeevenusedforaudiencememberstowritetheirresponsesandfeelingsabouttheperformanceortodrawimages.



Factors that Influence the Audience Exercise

Pleasepresentthefollowingspeech,usingCONFIDENTbodylanguage:

Hello.IamheretodaytotalktoyouaboutaForumTheaterprojectthatwehavestartedinSchool#3.Theaterisanactivitythatreallyinspirestheyouthatourschool;theydeveloptheircreativityandtheiranalyticalthinkingskillsandtheyenjoytakingpartinaproductiveactivityafterschool.

Pleasepresentthefollowingspeech,usingbodylanguagethatshowsalackofconfidence:


Pleasepresentthefollowingspeech,showingstrongeyecontactwiththeaudience:


Pleasepresentthefollowingspeech,butdonotmakeeyecontactwithanyoneintheaudience:


Pleasepresentthefollowingspeech,usingaconfidentandcleartoneofvoice:


Pleasepresentthefollowingspeech,usinganervousanduncleartoneofvoice:

Hello.IamheretodaytotalktoyouaboutaForumTheaterprojectthatwehavestartedinSchool#3.Theaterisanactivitythatreallyinspirestheyouthatourschool;theydeveloptheircreativityandtheiranalyticalthinkingskillsandtheyenjoytakingpartinaproductive


activityafterschool.


Curriculum Workshop Planning

Activity Facilitator Time Materials

WarmUp

LeadIn

MainActivity

Energizer

ClosingActivity


Drama Club Planning – Flipcharts

Flipchart#1:Title:GoalsofDramaClubs

Flipchart#2:DramaClubCharter:

ShouldbesignedbyDirector

Chartershouldinclude:

a. Goal(s)b. RolesandResponsibilitiesofAdultandStudentLeadersc. YouthParticipants–Who?d. MeetingSpacee. MeetingSchedulef. UseofFundsg. InformationaboutPublicPerformances

Flipchart#3:

Micro-Grants:

• Application(bySeptember25,2010)• BudgetManagementandReporting• ReportingonActivities

Flipchart#4:BudgetandFundsManagement:

(Addherebasedon“TipsforFundsManagement”thatwillbedeveloped.)


Drama Club Planning - Checklist

Pleaseusethisforminplanningyourclub.

STEP1: IdentifyLeaders1. Whowillbetheadultleader(s)oftheDramaClub?Shouldbeadultswhohave

attendedYTPactivities.

NAME:__________________________ POSITION:_____________________________

NAME:__________________________ POSITION:_____________________________

2. WhowillbetheyouthleadersoftheDramaClub?ShouldincludesomeyouthwhohaveattendedYTPactivities,butmayincludeotheryouthaswell.

NAME:__________________________ CLASS:_____________________________ NAME:__________________________ CLASS:_____________________________ NAME:__________________________ CLASS:_____________________________ NAME:__________________________ CLASS:_____________________________ NAME:__________________________ CLASS:_____________________________

STEP2: DramaClubPlanningandOrganization

2. GoalofDramaClub:Whyareyouorganizingthisdramaclub?Whatisyourgoal?

3. DramaClubName:Whatwillyoucallyourclub?


4. DramaClubSchedule:Howoftenwilltheclubmeet,andforhowlong?

5. DramaClubSpace:Wherewillyouholdclubactivities?

6. DramaClubparticipants:Howmanyyouthwillparticipate?(Whatage/class?)Howwillyourecruitthem?Howwillyoumakesurethatdiversestudentsparticipate?(Male/Female;Differentnationalitiesandreligions;etc)

7. DramaClubCharter:Youshouldprepareacharter,andworkwithyourSchoolDirectororOrganizationDirectortosignitbeforestartingactivities.Thechartershouldincludeinformationabout:

a. GoaloftheDramaClubb. RolesandResponsibilitiesofAdultandStudentLeadersc. Whowillparticipateinthedramaclub.d. Wheretheclubwillmeet.e. Whentheclubwillmeet,andhowoften.f. Howfundswillbeused.g. Iftherearetobepublicperformances(forstudents,parents,and

communitymembers).STEP3: DramaClubRoles

Youwillneedtodecidewhowillberesponsibleforeachstep.Insomecases,anadultandyouthshouldworktogether.Inothercases,theadultmaysimplyreviewandmakesuggestionstotheyouth’swork.

Role/Responsibility WhoWillbeResponsible?(Canbemultiplepeopleforeach!)

DramaClubCharter(write,workwithDirectorstoapprove)


YouthParticipantRecruitment

PlanningofDramaClubMeetingSessions

Budget

PlanningofPerformanceLogistics

STEP4: DramaClubMeetingSessionPlanning

Nowit’stimetoplanyouractivities!Whatactivitieswillyourunineachsessionandwhowillfacilitatetheactivities?Pleaseseethesampleplanbelow–youshouldchoosetheactivitiesthatyouthinkarebest.

PurposeofSession Title(s)ofActivities WhoWillFacilitate?

Session#1 Team-BuildingBuildingTrust

Session#2 Team-BuildingBuildingTrust

Session#3 Team-BuildingBuildingTrustImageTheater

Session#4 BuildingTrustImageTheater

Session#5 SharingStoriesForumTheaterDevelopment

Session#6 ForumTheaterDevelopment

Session#7 Rehearsals

Session#8 Rehearsals

STEP5: DramaClubBudgetandMicro-Grant

InordertoapplytoYTPforaDramaClubMicro-Grant,youmustsubmitacopyofthiscompletedformtoIREXbySeptember25,2010.Yourtotalexpensesshouldbenomorethan$200USD.


TypeofExpense Description(YouMUSTincludeadescriptionforeachitem)

BudgetedCost(Whatdoyouexpecttospend,

basedonlocalaveragecosts?)

ActualCosts(Whatdidyou

spend?)COMPLETE

THISSECTIONBYNOVEMBER15,2010

Equipment Props:

Equipment Costumes:

Equipment Soundsystem(microphone,etc):

Supplies PrintingHandouts/Flyers

Supplies Tea/snacksforPost-PerformanceDiscussions.Ifneeded

Other

Other

TOTAL Addupallexpensesandenterthetotalhere.

STEP6: PrepareforPublicPerformance(s)

1. Whenandwheredoyouplantoholdpublicperformances?

Date Location WhowillAttend?(Includeanestimatenumberofpeople,andwhattypeofaudience

Doyouhavepermissions?From

Whom?


–students,schoolchildren,generalcommunity,etc.)

(schooldirector,etc.)

Foreachperformance,pleasefollowthischecklist:

TASK PersonResponsible

Deadline Done?

1. Languages:Whatlanguageswilltheaudiencespeakandunderstand?Willyouneedtoarrangetranslation?Willyouneedtoadjusttheperformancesothereislessdialogue?

Languagesofaudience:

2. Permissions:Meetwithappropriatelocalauthorities,schooldirectors,etcandgetpermission(writtenifneeded)tousethespace(s)andperformfortheaudience.

Names/TitlesofAuthorities:

3. ArrangeEquipmentandSupplies:a. SoundSystemb. Costumes/Propsc. TeaforPost-PerformanceDiscussion

4. Publicity-Flyers/Handouts:Willyouuseflyers/handouts?Whowillprepareandbringthem?Whattimewillperformancesstartineachspace?

5. Back-UpPlan:Whatwillyoudoifthespaceisnotavailable?Iftheelectricitydoesnotwork?Ifthe


transportdoesnotarriveintime?

Notes:

6. TestEquipmentandRehearse:Makesuretosetup,testyourequipment,andrehearsetheplayinthespace.

7. Photos:Whowilltakephotosoftheperformance?


Add Your Own Exercises! Handout

NotetoTrainers:Onthesepagesyouareinvitedtoaddadditionalgamesorexercisesyouwouldliketouseatthesummercamps.Youmaysubmitasmanygamesorexercisesasyoulike;however,wemaynotbeabletoincludeallofthemduetotimelimitations.Pleaseusetheformatbelowtoprovideacleardescriptionofthepurposeofthegameorexerciseandhowtoconductit.

PleasereturnyourcompletedpagestoanIREXstaffmember,sowemaytypeandtranslatetheaddedgamesandexercises.Ifyouneedadditionalpages,pleaseaskastaffmember.

ExerciseName:_____________________________________________________________

Purpose:Length:

NumberofParticipants:

AgeLevel:

Materials/Props:

Approach:

SideCoaching:


Source:


ExerciseName:_______________________________________________________________

Purpose:Length:


AgeLevel:

Materials/Props:

Approach:

SideCoaching:


Source:


ExerciseName:_______________________________________________________________

Purpose:Length:


AgeLevel:

Materials/Props:

Approach:

SideCoaching:


Source:


Facilitation Handout

Theartoffacilitationrequiresvariousskillssothatthefacilitatorcanensurethatparticipantsareabletoshareideas,toaskquestions,andtotakerisks.Thefacilitatorshouldsupportagroupprocesstoreachcommonobjectives,tosometimeschallengethinking,toprovidemultipleperspectivesfromwithinthegroup,andtoenableastrongandsupportivestructureforthegroupprocess.Afacilitatorhelpstokeepagroupontask,tokeeptrackoftime,andtoprovideaphysicallyandemotionallysafespacetowork.Someoftheseskillsincludethefollowingtraitsasnotedinthe‘HopeisVitalTrainingManual’byMichaelRohd:

WhatGoodFacilitationLooksLike

Agoodfacilitator:

• Isenergizedandenthusiasticabouttheprocess.Youdon’tmatchtheparticipants’energylevelbecausetheirsisusuallyalowerenergyatfirst.Youcreateanenvironmentwithitsownenergyanddemandthattheycomeuptoit.

• Isagoodlistener.Thegroupmustknowyoucareabouttheirthoughtsandtheirresponsesandthatyouarewillingtolearnaswell.Thisisallsignaledbythewayyoulisten:thewayyoustand,thewayyoudoordon’tmakeeyecontact,andtheattentionyougivetotheirideas.And,mostimportantly,youhavetolistentodoagoodjobofknowingwheretheprocesscangonext.

• Isnonjudgmental.Youarenotupfronttomovethesceneinthedirectionyouthinkitshouldgobecauseofyourownopinions.Youareworkingfortheparticipants,completelytrustingthattheseyounghumanbeingsinasafe,creativeenvironmentwillnaturallyexploreresponsible,healthydirectionsandpossibilities.

• Deepensthediscussionandmovestheeventforward.Throughquestioning,youarepushingthegrouptoconsideroptions,angles,andsituationsinnewways-notbysuggestingnewthings,butbysharingobservations,lookingforconsensus,andchallengingresponsesateveryopportunity.

• Isconfidentinyourroleastone-setterandguide,notinhavingeverythingallfiguredoutaheadoftime.Clarifywheretheythinktheworkisgoingorcouldgo.Youarerunningtheprocessbutonlyinthatyouareservingtheprocess.

• Isawareofthedynamicsintheroom.Knowwhoisanxioustoparticipate,whoisquiet,andwhoisinthemiddle.Findwaystoinvolveasmanyofthesedifferenttypesofpeopleasyoucan.


• Understandsthattherewillbepeopleintheroomwhodon’twanttobethere.Makeitclearthatyouwouldlovetheirinputatthisstageoftheprocessbutaswithothertask-relateddisciplineissue,youneedtheirfocushereorthegroupcan’tproceed.Therecanbenodisrespecttoothers.

• Askseveryquestiontrulywantingtoheartheanswer.Neveraskaquestion,expectingacertainanswerwithyournextmovehingingonthatresponse.Alwaysmoveforwardfromtheresponseyouget,nottheresponseyouarepreparedfororhaveheardbefore.Listen.

Reflection

Followingeachexercise,andpriortothenext,itisimportanttousereflectionquestionstostimulatediscussionanddebateabouttheparticipantlearningexperience.Forthemostpart,askopen-endedquestionsthatallowtheparticipantstotraversetheirownexperientialjourneyofdiscovery.Lettheparticipantscomeupwiththeirownquestions,themes,andagendas.Basically,thefacilitatoristheretohelpsupporttheparticipantstobeself-reflexive,andtodecideupontheirownagendas.Herearesomekeypointsthatyouwillwanttobemindfulofintermsoffacilitatingagroupandmonitoringaworkshop.

• ReflectionQuestions–eachexerciseshouldculminatewithaseriesofreflectionquestionsthatallowparticipantstoguidetheirownexperienceandlearning.Samplequestionsare:

Whathappened?

Howdidyoufeelduringtheexercise?

Whatdidyounoticeinthegroup?

Whatthemesorideasemerged?

Howmightyouusetheseexercisesinthefuture?

Isthereawaythatyouwouldadapttheseexercisestobeappropriateforyourregion?Foraparticularagerange?

Howwouldyoulinkthisexercisetothenext?

Whatwouldbemainconnectionpoints/questions/themesthatyouwouldbuildupon?

Wasthereaparticularmomentthatstoodouttoyouas‘learning’?

Whatwouldyoutakeawayfromthisexercise?


ExperientialLearning

Duringthefacilitationofexercises,findmomentseitherduringtheprocessorfollowingtheexercisestogetfeedbackfromtheparticipants,andforfurtherreflection.Askforcommentsorobservations.Itcansometimesbeusefultothinkabouttheexperientiallearningcyclewhencontemplatingthearchoftheexercisethatyouareleading,ortheoverallarchoftheworkshop.

Therearefivemainphasesoftheexperientiallearningcycle:

• Experiencing• Publishing• Processing• Generalizing• Applying

TheASTDTrainer’sWorkShopSeries‘CoachingTraining’definesthefivephases,developedfromJonesandPfeiffer(1985):

Experiencing–istheactivityphaseofexperientiallearning.Itinvolveslearnersengaginginacommonlearningactivitythatprovidesthebasisforextrapolationtothe‘realworld’.Forexample,everythingthatprecedesthedebriefingintheexercisesinthisworkbookcouldbethoughtofasexperiencing.

Publishing–involveslearnerssharingwhattheyexperiencedandobservedduringthelearningactivity,orExperiencing,phase.Thissharingmayconsistoffeelings,thoughts,andreactionstoeachother’sbehavior.Thisconstitutesthe‘rawdata’fromwhichlearningcanbeabstractedthroughthenexttwostepsofthecycle.

Processing–isgroupdiscussionofthedynamicsofthelearningactivity.Thesearchhereisforcommonalities,trends,andotherpatternswithinthedatasetflushedoutbythePublishingstep.Generally,theProcessingstepisaidedbyhavingthefacilitatoraskquestionsthatbeginwitheither‘what’or‘how’ratherthan‘why’.

Generalizing–requiresmovingthegroupdiscussionfrom‘inhere’to‘outthere’.Itmeansdrawing‘truths’fromthecommonlearningexperience.Learnersdraw‘Sowhat?’conclusions.Thefacilitatorposesquestionsthatleadtraineestothinkaboutwhatseemstobetrueabouttheirworldsfromthediscussionoftheircommonlearningexperienceanddiscussionoftheirreactions.

Applying–isdiscussingwhatwaslearnedandcommittingtoputtingittowork.Thefacilitatorleadslearnerstorespondtothegeneralquestion,‘Nowwhat?’Theapplicationsmayfocusonteams,individuals,ortheorganizationitself.Typically,themasterfacilitatorpushesforconcreteactionplanning,basedonwhatwaslearnedintheexercise.Thisinvolvesspecifyingwhatwillbedone,bywhom,withwhatintent,towhatextent,andexactlywhen.Thefacilitatoralsopushestraineestodeterminewhatmetricstheywillusetotrackprogresstowardstheirgoals.


DebriefingExperientialLearning

Theexperientiallearningcycleisadeviceforfacilitatorstoengageparticipantsintheirownlearningprocess.Herearesomequestionsthatcanbeusedinthefacilitationofexercisesusingtheexperientiallearningcycle:

Experiencing:

• Whatemotionsdidyouexperienceduringtheactivity?• Inresponsetowhatdidyouhavethesefeelings?

Publishing:

• Howdidyouseeyourselfbehavingduringtheexercise?• Whatdidyounoticeinthebehaviorofothers?• Howdidyoureacttoothers’behaviorduringtheexercise?• Howdidothersrespondtoyourbehavior?

Processing:

• Whatpatternsofbehaviorseemedtoemergeduringtheactivity?• Whatdidthefeelingsofgroupmembershaveincommon?

Generalizing:

• Whatcanweconcludefromtheresultsofthisexercise?• Whatseemstocausewhatinthistypeofsituation?• Howdoesthisexercisemirrorwhatgoesoninourworkascoaches?• Whatappeartobethecostsinvolvedindoingtasksthewaywedidthemin

thisexercise?• Whatwouldbesubstantiallybetter?• Asaresultofparticipatinginthisexercise…

*Whatdidyoulearn?

*Whatdidyoure-learn?

*Whatareyoubeginningtolearn?

*Whatdoyouneedtolearn?

Applying:

• Howmightwebehavemoreeffectivelyascoaches,givenwhatwelearnedinthisexercise?

• Howmightourcoachesusewhatwelearnedinthisactivitytomaketheirtaskandrelationshipbehaviorsmoreeffective?


• Whatwillyouasacoachdodifferentlyasaresultofwhatwelearnedinthisexercise?

• Whenwillyoudoit?• Howmuchwillyoudoit?• Wherewillyoudoit?• Howwillyoutrackprogressonapplyingwhatyoulearnedinthisexercise?

Theroleofthefacilitatoristoguidetheparticipantstowardstheirownquestions,andtowardstheirowndiscoveries.Itisimportantthattheparticipantsrespondtotheirownexperiencebysuggestingwhentheyneedanythingnotincludedintheworkshop.

GroupDynamics

Asafacilitator,itisimportanttoconstantlymonitorgroupdynamics.Oneshouldbeawareoftheenergylevelinthegroup,andtheirneeds.

Howareparticipantsworkingwithoneanother?

Whoiscomfortableworkingtogether/uncomfortableworkingtogether?

Howcanyoufacilitatetrustandopencommunication?

Areyoutryingtoequalizevariouspowerdynamicsrelatedtogender?

Areyoutryingtoequalizevariouspowerdynamicsrelatedtoage?

Thesequestionsarebeingnavigatedthroughouttheworkshop,andoftenbecomedecidingfactorsforhowyoumakegroups,andpotentially,thenextexercisethatyouwouldwanttotransitioninto.Althoughaworkshopshouldalwaysbefullyplanned,therealsoneedstobeacertainlevelofflexibilityintermsofaddressingtheneedsofparticipantsandtochangeexercisesifneeded,determinedbytheenergylevelorgroupdynamics.AccordingtopsychologistandgroupdynamicstheoristBruceTuckman,groupdynamicsgothroughfourmainphases:forming,storming,norming,andperforming.Sometimes,agroupwillgothroughallfourofthephases,justafew,ormayonlyincorporateacouple.Usually,agroupwillstartfromtheformingstage,butagroupcandevelopfromanygivenpoint.Itisusefultothinkofthephasesofagroupprocess,tomonitorwhatphaseyourgroupmaybein,andfacilitateaccordingly.Belowaresomecharacteristicsofbehaviorwhichparticipantsmaydisplayduringeachphase:

Forming:Thebeginningprocessofagroup.Membersareusuallyontheirbestbehavior.Theparticipantsgettoknowoneanother,andthefacilitatorisabletoassesshowpeopleworkindependentlyandwithoneanother.Usuallyatthisstage,thefacilitatorgivesanoverviewoftheworkshop,setsgroundrulesnegotiatedbythegroup,andrequestsparticipantstoshareanyexpectationstheymighthaveinbeingpartoftheworkshop.


Storming:Duringthestormingstage,participantsaretestingboundaries,andplayingwithrolesandpowerrelations.Agroupwillalwaysgothroughthisstage,anditshouldbeconsideredanecessarystepincreatingadynamic,safe,andexpressivegroup.However,theremaybesomebehavioralchallengesthatyouwillneedtoaddress:

• ParticipantsthatMonopolize–Lettheparticipantknowthatyou’venoticedthefrequencyofhis/hercomments.Iftheproblemcontinues,taketheparticipantasideandlethim/herknowthatitwouldbehelpfultohaveotherparticipantsvoicetheirviews,buttodothat,thereneedstobespace.

• ParticipantsthatLecture–Sometimes,you’llgetaparticipantwhowantstoprovetheamountofinformationthattheyhave,oftenwithoutrelevancetotheactualdiscussion.Directthecommentsbacktothesubjectathand.

• ParticipantsthatareSilent–Often,thesilentandobservantparticipantshavealottosay!Asktheparticipanttosharehis/herideas.Don’twaitforthemtospeak,callonhim/her.

• ParticipantsthatClown–Don’tfallintohis/hertricks.Usealevelvoice,andcontinuetoguidethegroupbacktothepointofdiscussion/activity.Duringabreak,speaktotheindividual.

Itmaybenecessarytogobacktothegroundrulesasareminderofagreementsthathavebeenmadebyeveryone.

Norming:Afterthestormingstage,participantsbegintonormalizetheirbehaviorthroughmutualconsensus.Thismayhappenformallyorinformally,asindividualsbegintobalancepowerdynamicsamongstthegroup.Sometimes,thismayhappenformallybyrevisitinggroundrules,settingupnewmodesofengagement,ordefiningrolesandresponsibilitiesamongstthegroup.Itcanalsohappeninformally,whenthedominantpersonalitymaypullbacktoallowformorepassivememberstoparticipate.Itisusefulforthefacilitatortosuggestforindividualstochallengetheirnormalbehaviorandtoexperimentwithalternativewaystoparticipate.Forasilentparticipant,itmaymeanspeakinguportakingaleadershiproleinthegroup.Foradominantparticipant,itmaymeanobservingandrecordingthegroupactivities.

Performing:Thefinalstageofagroupprocessisperforming.Atthisstage,thegroupisworkingasateam,makingdecisionsindependentlyandeachpersonfeelsthattheyhaveavoice.Evenatthisfinalstage,thegroupcangobacktothestageofstorming,butusuallythegrouphasdecideduponrulesofcommunicationandroles/responsibilitiesthataidinthedecision-makingandproblemsolvingprocess.Atthispoint,trusthasbeenbuilt,whichalsoprovidesamorefluiddynamicgoingbackandforthbetweenstormingandperforming.


Forum Theatre Structure Handout

Theexercisesinthemanualaredesignedtoprepareyouthandadultparticipantstofacilitateparticipatorytheatreintheircommunities.OneofthemethodologieswhichwillbeusedisForumTheatre.Althoughdirectionsandside-coachingwillbeexpandeduponduringtheForumTheatretraining,anoverviewisgivenbelowofthestepsinconstructingaForumTheatreskit.Duringtheprocessofthetraining,participantswilllearnabouthowtobuildanaudience,toopenandcloseaperformance,andtointegratestakeholdersintotheprocessforbestpossibleinterventionoutcomes.

Theframeworkofthecampwillfollowaday-by-dayscheduleofactivitieswithallocatedexercises,butitisrecommendedthateachmorningandafternoonsessionshouldbeginwithaplenarywarm-up,lead-in,orenergizeractivitybya‘duo’ofyouth.Thetraining‘duos’tofacilitatetheexercisescanbeprogrammedinadvanceforampleplanning,andtofitintotheobjectivesofthesession.Theemphasisofthecampistosupportyouthfacilitation,thustrainerswillprovideguidancethroughoutthecamp.

ForumTheatre

Purpose:Tolinkinteractivetheatremethodologywithcasestudyscenarios.

Approach:SharingStories:

§ Inregionalgroups,shareindividualstoriesaboutapersonalstruggle–forexample,whenyouwantedtoachieveagoal,butwerenotableto.

§ Eachgroupwillsitcomfortablyinacircle,integratingskillsofactivelisteningfromearlierexercisesincludingThreeImageStoryandFluidSculptures.

§ Thestorycirclewillbeginwiththefacilitatoraskingforeachindividualtoshareasituationorstoryinwhichheorshewastryingtoachieveagoal,andvariousobstaclesthatheorshefacedintryingtoreachhisorhergoals.

§ Eachindividualistosharethestorywithoutinterruptionsorquestions.Ifthereareanyinterruptions,thena‘storystick’couldbepassedaround,andonlythepersonwiththestickisabletospeak.

§ Afterallparticipantsineachgrouphavesharedtheirstories,askeachindividualtocreateastillimagethatrepresentstheirprimaryobstacle.


§ Eachparticipantwillsharetheirstillimageandgivetheirimageatitlethatexpressesthecentralidea.

§ Discussthedifferentthemesandimages.Participantsareaskedtodecideononestorywhichtheyfeelbestrepresentsaproblemthattheyasagroupwouldwanttoexplore,andfindsolutions.

SelectingImage:

§ Participantsdecideononeofthestoriesthatwilllaterbedevelopedintoaforumtheatremodel.

§ Createastillimagewithallmembersofthegroupwhichillustratesthemainobstacles.Istheproblemclearlyillustrated?Thisimageistherealimageoftheproblemandthesurroundingcircumstances.

§ Haveeachgrouppresenttheirselectedimage.Thefacilitatorshouldquestiontheaudience.Whatdoyousee?Whatistheproblem?Whatarepossiblesolutionstoresolvetheproblem?

§ Theaudienceisthenrequestedtoturntherealimageintotheidealimage.Oneatatime,asktheparticipantstomakeonechangeintheimagebysculptingtherealintotheideal.

§ Thefacilitatorshouldquestiontheaudience.Whathappened?Whatchangeoccurred?Howcouldthischangehappeninreallife?

CreatingtheForumTheatreModel:

Afterexperimentingwiththeimagesofproblemsandpotentialinterventions/solutionsintheSharingStoriesForumTheatreexercise,thegroupscanworktheirimagetheatreintoaForumTheatreModel.

§ Writeoutthestorylineoftheforumtheatre.Decideonfivemainplotpoints.Createfivestillimagesor“freezeframes”basedontheplotpointsofthestoryselected.

§ Thestillimageshouldillustratethemainactioninthescene.Giveeachsceneatitle.

§ Makesurethatitisclearwhotheprotagonistis,whotheantagonistis,andwhatanyobstaclesare.Theforumtheatremodelshouldendwiththemomentofcrisis,inwhichtheprotagonistdoesnotreachhisorhergoals.

§ Aftereachfreezeframehasbeendeveloped,dialoguecanbeintroducedthroughseveraltechniquesthatincludeimprovisationorthoughttracking.

§ Duringeachfrozentableauxorfreezeframe,thefacilitatorcantaptheshoulderofthefrozenstatuetothoughttrack.Thefrozenstatuewouldrespondbystatingaphraseorwordwhichrelatestowhatheorsheisfeelingorthinkinginthemoment.Inthisway,exploringtheinnermotivationanddialogueofeachstillimage.

§ Thegroupcancreatefiveshortscenesusingimprovisationtocreatedialogue,assistedbytechniquessuchasthoughttracking.


SideCoaching:Duringtheformationofscenes,thefacilitatorwilldemonstratekeytheatricalelementsincludingblocking,enunciation,articulation,andcharacterization.

TheDevisingProcessforCreatingaForumModel:

§ Whatisthecentralidea?§ Whatisthebasicscenario/story?§ Whoistheprotagonist?Whatdoessheorhewant?§ Whoisthemainantagonist?Whatdoessheorhewantthatconflictswiththe

needsofthecentralcharacter(protagonist)?§ Whatactionsoccurtopreventthecentralcharacterfromachievingorgetting

whatheorshewants?§ Makesurethecentralcharactercoulddosomethingotherthanisshowninthe

originalstory.Arethereotherchoicesorpossibilities?§ Review(rehearse)wherespectatorswillbeabletointerveneanddosomething

different.§ Makesurethemodelcontainscharacterswhoofferthepossibilityofhelp(or

hindrance)–accordingtothewaytheyareapproached.§ Castthemodel.Whoistheprotagonist,antagonist,allies,andthe‘joker’(see

notebelow)?The‘joker’shouldnotbeintheperformance.§ Improviseandtheatricalizethewholescenario.§ Identifystrategiesfor(a)theantagonists(s)(b)thespect-actorswhointervene.§ Rehearse.

Rehearsal:

§ Theactorsandfacilitatororjokermustrehearseinadvance,notonlythescript,butalsowaystohandlethepossibleinterventionsfromthespect-actors(thespectatorsoraudiencemembersthatbecomeapartofthescenethroughtheinterventionsasactors).Thejokeristhepersonwhomediatestheinterventionsfromtheaudience.

§ Allofthecharactersshouldbefullydevelopedandhumanaspossible.Whatdotheywant,hope,andfear?Whataretheirstrengthsandweaknesses?Theirinternalcontradictions?

§ Themodelshouldcontainsomecharacterswhoarepotentialalliesfortheprotagonist.

Interventions:

§ Eachgroupperformstheirforumtheatremodelfortheotherparticipants.§ First,thewholeskitisperformedfrombeginningtoend.§ Followingafullillustrationofthemodel,theaudienceisaskedtomake

interventionstosolvetheproblembyyellingout“Stop!”atanymomentinwhich


adifferentdecisionoractioncouldchangetheoveralloutcomeofthestory,allowingtheprotagonisttoachievehisorhergoal.

§ Theaudiencememberintervenesbytappingouttheprotagonist,takingthephysicalizationofthecharacter,andthenstartingthesceneagainwithhisorherideasforintervention.

§ Theothercharactersinthescenemusttrytosticktotheirobjectives,andtheprotagonistmustcontinuetoexperimentwiththeirideaofintervention.

§ Ifitisunsuccessful,orifthereisanotherpointintheskitinwhichanobstaclecouldbeovercome,otheraudiencememberscontinuetoyellfreeze,andtotaketheplaceoftheprotagonist.

Reflection:

§ Followingseveralinterventions,thefacilitatorcangenerateadiscussionabouttheinterventions.Whatweresomeoftheinterventions?Aretheserealisticorfantasy?Whatwouldneedtohappenonafamilial,community,andgovernmentallevelforthedesiredoutcometobeachieved?


Developing Your Leadership Attributes Handout

Everyonecanbeastrongerleaderbydevelopingthefollowingleadershipattributes.Makesomenotesaboutthingsthatyoudowellandthingsthatyouwouldliketoimproveineachcategory.

LeadershipAttribute

Iamgoodat….. Iwouldliketokeepimprovingat….

InterpersonalStrengths(abilitytogetalongeasilywithpeopleofallagesandnationalities)

CommunicationSkills

Self-Confidence

AbilitytoMotivateOthers

OrganizationalSkills


Community Asset Mapping Overview Handout

INSTRUCTIONS:

1. Drawamapofthecommunityontheflipchartpaper!Writethecommunitynameatthetop.

2. Labelkeystreets,landmarks,andinstitutions.

3. Labelthehousesandbuildingswhereimportantpeopleliveandwork.(“Importantpeople”couldbeformalorinformalcommunityleaders,oranyoneelsethatyoudecideisimportanttoinclude.)

4. IncludeandlabelimportantspacesforTheateractivities.Thesespacesmight

includeplaceswhereyouthspendtheirtime,and/orperformancespaces.


Steps for Developing a Three Point Presentation Handout

There are many theories for the development of an effective presentation, but the one most frequently used and preferred is the method that uses three key message points.

Step 1. Research and analyze your audience (the person or people you will speak to). Focus on what they want to/need to know and how they will benefit.

Step 2. Select your topic.

Step 3. Define the objective of your speech: to inform, advise, persuade, convince, instruct, show, promote, motivate.

Step 4. Write three key points that you will cover in your presentation.

Step 6. Wherever possible, use a story to illustrate one or more of the main points.

Step 7. Insert appropriate visual aids to enhance your message (you could bring pictures, for example.).

Step 8. Outline your key points at the beginning.

Step 9. Prepare a convincing conclusion that is tied to your objective. Summarize your key points.

Step 10. Practice your speech aloud, on your feet, in front of colleagues. Record yourself. Make smooth transitions from one point to the next. Ensure that your language is positive (e.g., will, can, knows, does, is). Practice a conversational style.

Step 11. Remember that less is more! Eliminate unnecessary words and avoid repetition.

DEVELOPING A THREE-POINT PRESENTATION Who is your audience? ________________________________________________________________________________________________________________________________

What is your topic? What is your objective? ________________________________________________________________


MAIN POINTS SUBPOINTS EXAMPLES

DON’T FORGET YOUR INTRODUCTION AND CONCLUSON!!


Strategy to Engage Community Leaders Handout

WithyourForumTheatergroup,identifycommunityleaderswhosesupportyoushouldgaininadvance,toensurethatyouhaveasuccessfulForumTheaterperformanceinthecommunity.YoushouldcompleteonehandoutforeachcommunitywhereyouplantoholdForumTheaterperformance(s).NameofCommunity:_____________________________________________________________WHO?Whatisthisperson’snameandposition?

WHYdoweneedhis/hersupport?

WHATarehisorherideasand/orconcerns?

WHATshouldwetellhimorhertohelpunderstandandsupportForumTheater?


Theater Tour Community Plan Handout

***PleaseattacharoughmapshowingthecommunitiesyouplantovisitonyourTheaterTour.***

TheaterTourGroupAdvisor’sName:_________________________________________________

NameofTheaterTourGroup:_________________________________________________

NameofHomeCommunity(Jamoat,District,Region)___________________________________________________

Below,pleaselistthecommunitiesyourgroupintendstovisitonyourTheaterTour.

NameofCommunity

(Jamoat,District)

DistancefromHomeCommunity

(km)

WhyweselectedthisCommunity:Diversity;RelevantIssues;Welcomingcommunitymembers;performance

spaces?1.

2.

3.

4.


5.

NameofCommunity

DistancefromHomeCommunity

WhyweselectedthisCommunity:Diversity;RelevantIssues;Welcomingcommunitymembers;performance

spaces?6.

7.

8.

9.

10.


Theater Tour Planning Checklist Handout

(YourTheaterTourGroupshoulduseonePlanningChecklistfor

EACHCOMMUNITYwhereyouintendtoperform.)



NameofCommunity(Jamoat,District):________________________________________________________

Date(s)ofPlannedPerformance(s):_______________________________________________

Task PersonResponsible

Deadline Done?(Checkthisboxwhencomplete.)

Assessment:

8. Space:Identifypossibleperformancevenues(centrallylocated,public,and/orpopularplacesinthecommunity).

9. Space:Discussperformancevenuesandselectbestoption(s);considerbenefitsandchallenges:

a. Audiencewhowillattendeachvenueb. Performancespace,lighting,acousticsc. Whowillprovidepermission,andwillthey

besupportiveoftheTheaterTour?

Writetheselectedperformancespace(s)here:

10. CommunityIssues:Interviewcommunitymembers;learnaboutcommunityissuesandconcerns.YoushouldbringthisinformationbacktotheForumTheatergroup,andadaptyourForumTheaterasappropriate.

11. Demographicsoftheaudience:Willtheaudiencesbeyouth,oradults,oramix?Approximatelyhow


manypeoplewouldattend?Doyouneedtoadjusttheperformancegiventheaudience?Whomustgivepermissionsoyoucanperformforthisaudience?

Ifyouusemorethanoneperformancespace,makenotesforeachspace.

12. Languages:Whatlanguageswilltheaudiencespeakandunderstand?Willyouneedtoarrangetranslation?Willyouneedtoadjusttheperformancesothereislessdialogue?

Languagesofaudience:

13. Permissions:Meetwithappropriatelocalauthorities,schooldirectors,etcandgetpermission(writtenifneeded)tousethespace(s)andperformfortheaudience.

Names/TitlesofAuthorities:

Preparation:

14. PlanYourDay–WriteanAgenda:Whattimewillyouarriveinthecommunity?Whattimewilltheperformance(s)begin/end?

Notes:

15. Rehearse/AdjustPerformance:Basedontheinformationfromyourassessment,rehearseinadvanceandmakeanyneededchangestoyourperformance,forthespace,audiencedemographics,forthecommunityissues,orforlanguageissues.


16. PrepareBudget:CompleteyourBudgetTemplatewithallcosts.

17. ArrangeTravel:Howwillyourgroupgettothecommunityonthechosenday?Isthebus/vansafeandavailable?Isthecostreasonable?Makesuretoarrangetravelinadvance,andthencalltoconfirmonthedaybefore.

18. ArrangeEquipmentandSupplies:a. SoundSystemb. Costumes/Propsc. TeaforPost-PerformanceDiscussion

19. Publicity-Flyers/Handouts:Willyouuseflyers/handouts?Whowillprepareandbringthem?Whattimewillperformancesstartineachspace?

20. Back-UpPlan:Whatwillyoudoifthespaceisnotavailable?Iftheelectricitydoesnotwork?Ifthetransportdoesnotarriveintime?

Notes:

DayofPerformance:

21. Arriveearly!Youwillneedtosetup,testanyequipment,andrehearse.

22. TestEquipmentandRehearse:Makesuretosetup,testyourequipment,andrehearsetheplayinthespace.

23. Photos:Whowilltakephotosoftheperformance?


Publicity/Media Strategy Handout

CommunityName:_____________________________

TheaterTourGroupName:____________________________________________

GoalsofyourPublicityStrategy:

1.

2.

TypeofPublicityorMedia

AudienceYouwillReach

MessagetoSendtothisAudience

Notes(whoisresponsible;whatarecosts;deadline)


Theater Tour Budget Template Handout



NameofCommunitieswhereYouWillPerform(Jamoat,District):___________________________

__________________________________________________________________________

NOTE:Pleasenotethatyoucanleaveanylinesblankifyouwillnotneedtospendonthatitem!Youmayhavecommunitymembersdonateequipmentortransportation;youmayfindthatyoudonotneedequipmentorprops.Youcanalsoadditemsiftheyarenotlistedhere.

1. CompleteyourBUDGETandsubmitittoIREXforapproval.Youwillreceive_____%offunds,uptoatotalamountof______.

2. Trackyourexpenses.Keepreceiptsforallexpenses.

3. SubmityourfinalexpensereporttoIREX,alongwithreceiptsandtheactualcosts.

TypeofExpense Description(YouMUSTincludeadescriptionforeachitem)

BudgetedCost(Whatdoyouexpecttospend,basedonlocal

averagecosts?)

(inTajikSomoni)

ActualCosts(Whatdidyou

spend?)

COMPLETETHISSECTIONFOLLOWING

THEPERFORMANCE.

Equipment Props:

Equipment Costumes:

Equipment Soundsystem(microphone,etc):


Other

Other

TOTAL

TheaterTourin__________________________________(CommunityName):Equipment Soundsystem(rental?).Ifneeded.



PerDiem PerdiempaymentforAdultTheaterTourAdvisors

Transportation Transportationfromhomecommunitytoperformancecommunity.

Other

Other

TOTAL







Transportation Transportationto/fromFidokororEHIOofficetosubmitreportsandreceivecash.

Other

TOTAL








Other

TOTAL




Supplies Photos:printing,purchaseCDtoburnphotostodisk





Other

TOTAL


Grant Money Management Tips Handout

Youshouldkeepthefollowingtipsinmindwhenmanagingsmallgrantmoney.

� Designatewhowillbeinchargeofthemoneyandcollectingreceiptsfromothergroupmembers.

� RemembertogetareceiptorotherdocumentationforALLexpenses.(Forexample,asigned“raspiska”maybecollectedfromadriverwhoprovidestransportationtoyourgroup.)

� Keepallreceiptsinthesamesafeplace,suchasanenvelope.

� Shoparoundforthebestprices,andasklocalbusinessesiftheyarewillingtodonateitemsforfree.

� Trytofinalizelargeexpensesfirst.(Forexample,ifyousecureadealonexpensivetransportationservicesfirst,thenyouknowexactlyhowmuchmoneywillbeleftoverforcostumes,propsandothersupplies.)


Action Planning Checklist Handout

YoushouldcompletethefollowingstepswhenplanningandimplementingyourTheaterTour.� FormyourTheaterTourgroup.(Youmayincludeparticipantswhodidnot

attendcamps.Tourgroupsmayincludeparticipantsfrommorethanonecommunity–aslongasallparticipantswillbeabletomeetandrehearseregularly.)

TheaterTourGroupname:________________________________________________________

NamesofTheaterTourGroupMembers(approximately5-10tourgroupmembersarerecommended):

� IdentifyyourTheaterTourgroupadultleader.

AdultLeaderName:__________________________AdultLeaderPosition:________________

� SelectcommunitieswhereyouwouldliketoholdForumTheaterperformances.UseHandout9,TheaterTourCommunityPlan.)

� AssessCommunitiesIdentifiedforForumTheaterPerformances:o CommunityAssessment(TheaterTourCommunityPlanHandout,pg.

216)o CommunityMapping(CommunityAssetMappingOverviewHandout,

pg.212)


o CommunityLeadersStrategy(StrategytoEngageCommunityLeadersHandout,pg.215)

� AdaptForumTheaterplayasappropriate(basedonAssessments),and

rehearse.

� PlanbudgetandsubmittoIREX(TheaterTourBudgetTemplateHandout,pg.222)

� PlanMediaStrategy(Publicity/MediaStrategyHandout,pg.221)

� PlanLogistics(TheaterTourPlanningChecklistHandout,pg.218)

� PerformForumTheaterplays!

� CompleteBudgetandTheaterTourReportsandsubmittoIREX.

Documents

Mobile Arts for Peace (MAP)