Community Theatre: Global Perspectives by Eugene van Erven

By Eugene van Erven

Group theatre is a crucial equipment for groups to jointly proportion tales, to take part in political discussion, and to collapse the expanding exclusion of marginalised teams of voters. it truly is practised around the globe by means of becoming numbers of individuals. released whilst a video of a similar identify, it is a special checklist of those theatre teams in motion. in line with van Erven's personal travels and stories operating with group theatre teams in six very assorted international locations, this is often the 1st examine in their paintings and the methodological traditions that have constructed world wide.

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During Holy Week, many rural communities still mount religious dramas, like the Sinakulo dramatizations of Christ’s crucifixion, for example (van Erven 1992:31– 32). Town fiestas on the occasion of local patron saints and Christmas are other attractive occasions for community theatre activities. When they are invited to work with parish-based groups, PETA artists usually try to insert a historical or social dimension in liturgical plays. Ernie Cloma has been involved in many such religiously packaged community theatre projects: ‘For example, I did a community production of the Kalvaryo with young people.

In the early 1980s, after several PETA artists had attended a Boal workshop in Paris, they made the same mistake once again, this time uncritically blending Theatre of the Oppressed techniques with the existing PETA workshop approach. Eventually, a hard-fought selfreflection process led to an internal split between two schools of thought. While both camps agreed that the social, political, economic and cultural conditions should always be the starting point for PETA’s theatre processes and that participants should be empowered by writing their own scripts and directing themselves, they differed on the question whether facilitators should be allowed to present their own aesthetics and perspectives.

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