Participatory Theater
What is theater? How does theater function within our society?
Better question yet is, what is participatory theater and how does this concept revolutionize how actors and audience members communicate?
Simply put, participatory theater is a breaking of what is known as the "fourth wall." The fourth wall is an imaginary boundary that both actor and audience members adhere to. It's an unspoken, but accepted barrier that an actor is portraying a character on stage and, that as an audience member, they are only "peeking," into the world of the play. Although, every actor is taught to project their voices and turn a scene out towards the audience (an acknowledgment that they are being watched), the audience is still meant to believe that what they are viewing on stage is real and that this fourth wall is meant to be the dividing line between the truth of the play and the reality of outside world-- their world.
But what were to happen if an actor consciously acknowledged that the audience was there, watching them? What if an actor stepped out past the proscenium arch and directed a monologue to a woman in the second row? The fourth wall, this barrier-- has broken and the accepted boundary between actor and audience is blurred. What is an audience member to do? And once the barrier is broken, how does an audience member define what is "the play," and what is the "reality?"
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| The Wonderful World of Dissocia by Anthony Neilson. Ohio University School of Theater production of Dissocia was performed in the Winter of 2009. This play, directed by Elenna Mosoff, had actress Lisa Summerscales, as seen on far right, break the fourth wall. Photo by PACE students of Ohio University. |
According to Elizabeth Quinlan and Wendy Duggleby, professors at the University of Saskatchewan in Saskatchewan, Canada, "Participatory theatre (PT) is a form of participatory action research in which theatre is used to create new knowledge grounded in immediate experience and direct experiment. It transcends the theory/practice divide by considering not just “what is” but also “what might be” and what “can be” (Quinlan 207)." Standard straight plays have used participatory theater techniques many times before, but normally these techniques are geared towards a much different style of theater. An average person may not know nor understand that within the theater community participatory theater techniques are closely linked with theatrical productions. These theatrical productions are related to the specific actor or specific group of performers. Many of these solo performers or groups of artists more often than not do not take already well known or documented material. The material that these artists use is their own stories or experiences and from there they construct a theatrical production around their personal, made public spheres.
Therefore, it may be difficult for an audience member to dissociate themselves from their previous knowledge about what they have been taught to consider what theater is. This is because the barrier is broken and what they are witnessing on stage is the truth or it is at least presented to them as truth. Whereas an audience knows that they are not in the 1930's anymore, but if a solo performer is talking about breast cancer and then at the end of the performance exposes their amputated breast to the audience, the material and the experience become real. The audience member is forced to witness this experience and therefore they are no longer safe behind the fourth wall. Instead of sitting in the dark witnessing a story in light unfolding before them, the audience is now a part of the story. And that is why participatory theater is one of the strongest forms of communication. (568)
The Virgin vs. The Whore
"This women demands, in Gloria Anzaldua's words, 'the freedom to carve and chisel [her] own face', thus maintaining the individuality of her body among groups (mis)identified solely by race and gender. . .(Worthen 1627)"
I once remember my theater history professor Jordan Schildcrout say something along the lines of, "Men went to the theater to see women's ankles." I thought that, that idea was fascinating in its own right and took that statement as fact, because it seemed entirely factual. At the time we were learning about The Virgin vs. The Whore and I thought, "How crazy. Yet, how provocative that a woman's ankle had that much sex appeal over the men that saw them." I'm pretty sure that it wasn't even a bare ankle, rather it was one covered in tights! I also remember asking myself how exactly that made a female actress a virgin or a whore.
"[Y]oung women without dowries had discovered the possibility of a theatrical career as a springboard to matrimony or "keeping." Husbands were scarce, but "keepers" swarmed. There were hundreds of lecherous gentlemen eager to seduce an actress as cheaply as possible. The foolish virgins succumbed to their blandishments and paid the usual penalty of folly. The wise ones teased their admirers into some kind of settlement, hoping to live in clover for the rest of their lives Pullen 22)."
In the classical era of theater, actors were generally all men. Then a shift started to happen during the Elizabethan era where "boy actresses" were what was desired. These boy actresses would play significant roles like Lady Macbeth, Ophelia and Cleopatra (Worten 221). During the 16th century of England it was a legal offense to cross-dress. It was punishable by whipping or a prison sentence. Yet, this remained a creative license for theatrical productions and boy actresses avoided prosecution. Worthen comments, "Women had little access to education, most could not hold property, and they were generally subjected to discrimination of many kinds. In this social economy and in a theater in which Puritan opposition to the stage frequently criticized the theater's "effeminacy," the absence of women from the stage became a powerful sign of their absence from other scenes of power (224)." Then within the Restoration of England, women started taking to the stage. Pullen tributes the increase in females actors on stage to when Charles II decreed that all female parts in plays had to be played by females. PullenPullen tributes the increase in females actors on stage to when Charles II decreed that all female parts in plays had to be played by females. Pullen goes on to tell that theaters building themselves were often located by or around brothels. These brothels were abundant in actual "whores," but theater goers at the time often linked those women to the actresses on stage. The women who made their living by working in brothels, sometimes, were the first thing the audience members saw before they entered the theater and the last thing after they left the theater. This is significant because the location of the theater played a huge influence in how theater goers viewed women who made their living in society. The audience maintained their preconceived notions of whorish women to the actresses they saw on stage. Pullen also states, " If a women presented herself on stage, then she would present herself off stage, sexually, as well: lampoons, satires and gossip perpetuated [this] assumption (24)." Not only were the theaters located in place that loose women frequented, but the stage itself was design to illuminate a female character for the ideal male spectator.
Actress Nell Gwyn was credited as one of the first female English actresses. Gossip also followed Nell Gwyn, because she had had an affair with Charles the II. Once the relationship broke, rumors may or may not have started about her sexual life, but nonetheless Nell Gwyn was credited as being one of first "Whore," actresses. Because of this status Gwyn often took and was offered roles where she would portray a sly, devilish, loose woman that was bent on seducing her often lead male actor. According to Kristen Pullen, "During the Restoration, the word "whore" was an insult, certainly, but one along the lines of contemporary "bitch," designating an unruly woman rather than one engaged in commercial sex (22)." Although actresses like Nell Gwyn were portraying "whore" females on stage it didn't necessarily translate into their personal lives. Theater was and is a business and acting was a means to make a living where jobs for women were not exactly plentiful. Today the theater and its community is still vast, but the people within the community have a shared understanding of the inner workings. Gossip and favors are still around in today’s theaters and our sense of what is theater has expanded far beyond the infancy of the theater of the Restoration era. (790)
"[Y]oung women without dowries had discovered the possibility of a theatrical career as a springboard to matrimony or "keeping." Husbands were scarce, but "keepers" swarmed. There were hundreds of lecherous gentlemen eager to seduce an actress as cheaply as possible. The foolish virgins succumbed to their blandishments and paid the usual penalty of folly. The wise ones teased their admirers into some kind of settlement, hoping to live in clover for the rest of their lives Pullen 22)."
In the classical era of theater, actors were generally all men. Then a shift started to happen during the Elizabethan era where "boy actresses" were what was desired. These boy actresses would play significant roles like Lady Macbeth, Ophelia and Cleopatra (Worten 221). During the 16th century of England it was a legal offense to cross-dress. It was punishable by whipping or a prison sentence. Yet, this remained a creative license for theatrical productions and boy actresses avoided prosecution. Worthen comments, "Women had little access to education, most could not hold property, and they were generally subjected to discrimination of many kinds. In this social economy and in a theater in which Puritan opposition to the stage frequently criticized the theater's "effeminacy," the absence of women from the stage became a powerful sign of their absence from other scenes of power (224)." Then within the Restoration of England, women started taking to the stage. Pullen tributes the increase in females actors on stage to when Charles II decreed that all female parts in plays had to be played by females. PullenPullen tributes the increase in females actors on stage to when Charles II decreed that all female parts in plays had to be played by females. Pullen goes on to tell that theaters building themselves were often located by or around brothels. These brothels were abundant in actual "whores," but theater goers at the time often linked those women to the actresses on stage. The women who made their living by working in brothels, sometimes, were the first thing the audience members saw before they entered the theater and the last thing after they left the theater. This is significant because the location of the theater played a huge influence in how theater goers viewed women who made their living in society. The audience maintained their preconceived notions of whorish women to the actresses they saw on stage. Pullen also states, " If a women presented herself on stage, then she would present herself off stage, sexually, as well: lampoons, satires and gossip perpetuated [this] assumption (24)." Not only were the theaters located in place that loose women frequented, but the stage itself was design to illuminate a female character for the ideal male spectator.
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| Actress Nell Gwyn |
The F-Word Ladies
Before I begin, here is the mission statement from the feminism inspired theater group here at Ohio University in Athens, Ohio:
"IT ALL STARTED with a group of women, chatting. They didn't know each other well, if at all- but as it goes, once one gets a dynamic group of women together chatting, one's willing to bet they'll start talkin'- especially those theatre types. Introductions out of the way, they began to share embarrassing stories about issues affecting them as women- everything from being a "seat bleeder" to jillin' in public. As the conversation grew, these ladies realized that there is a whole lottareaaalllly don't talk about (The F-Word Ladies)."
Although the mission statement is simple, it provides just enough insight to what this theater performance group attempts to do. This is also a theater performance group that thrives on participatory theater techniques, because without engaging the audience, this type of theater would cease to showcase its point to an audience that might not normally go to the theater-- let alone a theater with material with feminism inspired roots.
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| The F- Word Ladies Touch on Bodies performed in the Winter of 2009 in the Baker Center Theater. This was the groups first show. Touch on Bodies explored issues dealing with body image. Photo credit unknown. |
"IT ALL STARTED with a group of women, chatting. They didn't know each other well, if at all- but as it goes, once one gets a dynamic group of women together chatting, one's willing to bet they'll start talkin'- especially those theatre types. Introductions out of the way, they began to share embarrassing stories about issues affecting them as women- everything from being a "seat bleeder" to jillin' in public. As the conversation grew, these ladies realized that there is a whole lottareaaalllly don't talk about (The F-Word Ladies)."
Although the mission statement is simple, it provides just enough insight to what this theater performance group attempts to do. This is also a theater performance group that thrives on participatory theater techniques, because without engaging the audience, this type of theater would cease to showcase its point to an audience that might not normally go to the theater-- let alone a theater with material with feminism inspired roots.
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| Story Time with F-Word performed October 2nd, 2010 at the UCM Basement in Athens, Ohio. For this show the ladies and gent explored their childhoods. Photo by Erica Partridge. |
There are many theater troops like The F-Word Ladies all around the world and to attempt to list a few of them would be a moot point. That is why I choose to solely focus on this specific theater troop. As mentioned before The F-Word Ladies is based here in Athens, Ohio. I also bring up The F-Word Ladies because they attempt to use every facet of participatory theater techniques that are available to them. In order to create their shows, The F-Word Ladies are dependent on the audience engaging with them and for the performers themselves to create art that engages an audience. Without this interaction, the fourth wall would hold its invisible line and the performer would conform to an invisible force field inches away from an audience members seat.
The F-Word Ladies create their art and perform for a variety of reasons that are not always public to audience members. When I was creating The F-Word Ladies website in June of this year, I asked the ladies to fill out some questions for our "Meet the F-Word Ladies" Page-- just in case we had any curious audience members who wanted to know more about the artists performing. To F-Word Lady, Arianna Illiff stated that, “The F-Word is catharsis, (em)power(ment), humor, fellowship, and above all, a means for experiencing freedom (The F-Word Ladies)." When the idea of The F-Word Ladies was brought up to some of the Ladies, not all of the [now] F-Word Ladies were very fond of the idea. F-Word Lady Laura Dankin states, "When I first heard of the group I thought they would be based pretty much on radical feminist views which isn't something that I could see myself being a part of. But after seeing that show I realized that the group is about celebrating life and who we are, and finding truth in everyday circumstances and norms that have been placed upon us. I joined The F-Word Ladies to find my truth and express it through art with some of the most creative and amazing ladies I've ever met by my side (The F-Word Ladies)."
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| conFessions performed by The F-Word Ladies on November 16th, 2010 at the Hanhe Theater. This was the opening piece titled conFessions. The ladies stood and faced in different directions. This was because the audience was on three sides of the performance space. The ladies read conFessions aloud, that were submitted prior to the performance by anonymous persons. Photo by Hannah Leigh VanBrunt |
No matter what The F-Word Ladies express, that is the underlying expectation we place on ourselves. Make it factual. Make it truthful. And that is the only thing we can give and the audience should expect. (981)
UPDATE: The F-Word Ladies show conFessions has just ended. It took place on November 16th, 2010 at the Hanhe Theater inside of Kanter Hall. The show explored themes with mothers, body issues, self-harm, coming out and many more. The show was titled conFessions, with a capital F, to showcase the original mission statement of The F-Word Ladies. These conFessions were the things that women (and men) don't reaaallly talk about, but it was the perfect springboard for the things The F-Word Ladies were going to talk about. The performance had about 70 people attendance. (93)
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| Sonja Lynn Mata performing conFessions with The F-Word Ladies on November 16th, 2010 at the Hanhe Theater. For her piece Mata performed nude on stage and discussed body issues and the sense of controlling ones vulnerability. Photo by Hannah Leigh VanBrunt. |
What is theater? How do I even being to describe such an a experience. The experience of acting, directing, constructing, focusing, witnessing. . .it is simply endless. It's vast in nature. Theater for me, though, is the act of doing. Living out imaginary circumstances. And at the same time, groups like F-Word allow me to live out the real ones too. I find that in order to understand my passion for theater, I need to always remember my love of poetry. That I need to see my text [play/monologue] as poetry. I had a professor once tell me that theater could be the act of undressing in front of one another. A protest could also be considered theater. Therefore, theater might have some sort of standard, but it truly is unlimited. It is a thing that groups, people even attempt to set a bar for, but it leaks through and surges forward and creates it's own definition.
How does theater function within our society? Theater is truth. There is no other way to put that. That is all that needs to be said on how theater functions within out society and if that isn't understood than at least for the students here at Ohio University, Arts for Ohio exists for a reason. Tickets are free. GO! GO TO THE THEATER! Because Dear Jesse [an Ohio University alumni that recently submitted a letter to the campus newspaper, The Post, calling a live-art performance wedding a waste of money and was beneficial to no one], those that change the world, already go to the theater.
What is participatory theater and how does this concept revolutionize how actors and audience members communicate? According to Wainscott and Flecter, "To participate in theatre, as either audience member or practitioner, means to be at once an individual and part of a larger whole, even part of a continuum stretching far into the past as countless people find remarkably different ways to express the condition of being human (xxiii)." Theater that has the audience do more than just sit in the dark forces the fourth wall, barriers to break. It allows the audience a true experience and allows them the opportunity to see some new truth or forgotten truth and maybe no truth at all. Perhaps as artisits that's all we can really ask for. Oh and donations too. (396)
Done by: Sonja Lynn Mata, 2010
Total word count: 2828
Annotated Bibliography
Pullen,Kirsten. Actresses and Whores: On Stage and in Society. New York: Cambridge Univ., 2005. Print.
This book was simply amazing. It provided a different outlook on how women were and are presented in the public sphere. It also provided most of the history that I used in this project. This author uses a lot of outside sources to highlight some of the points she was attempting to make. Most, if not all, of her facts and theories are supported by others in the field. Thus, I saw fit that this source was an excellent one to cite and include in this project. Plus, the title says it all.
The F-Word Ladies. "IT ALL STARTED." The F-Word Ladies. 22 June 2010. Web. 04 Nov. 2010.
I decided to include The F-Word Ladies blog as a source, because the material is relevant to what is going on in today’s theater. Not only that, but this is theater that is happening here on campus in Athens, Ohio. It isn’t some distant “happening.” It is theater that is open and available to everyone. Although, I am the site editor of this blog, I attempted to remain as unbiased as I could, while still showcasing the ladies as a whole.
Quinlan, Elizabeth, and Wendy Duggleby. "“Breaking the Fourth Wall”: Activating Hope Through Participatory Theatre with Family Caregivers." International Journal of Qualitative Studies on Health & Well-Being 4.4 (2009): 207-219. Academic Search Complete. EBSCO. Web. 4 Nov. 2010.
This article is from the International Journal of Qualitative Studies on Health Well-Being. The study in this article explored the effects of participatory theater with patients that had dementia and the people that cared for them. Although the focus on this final project was not the use of participatory theater with mentally disabled persons, this article provided excellent concepts of why participatory theater is important and a cathartic.
Wainscott, Ronald Harold, and Kathy Fletcher. "Preface." Preface. Theatre: Collaborative Acts. 2nd ed. Boston: Pearson/Allyn and Bacon, 2007. Print.
Even though, I only used the preface to cite a quote or two, this book is phenomenal. It provides a contemporary outlook on theater techniques. This book delves into all of the facets of theater. It had sections on just how audience members engaged with the performance they were witnessing. The book also specifically had sections on the how women entered onto the stage.
Worthen, William B. "Helen Gilbert and Joanna Tompkins, from Post-Colonial Drama." 1996. The Wadsworth Anthology of Drama. 5th ed. Boston, MA: Thomson/Wadsworth, 2007. 1627. Print.
I love this book. I’m glad I kept it. Not only is it an anthology of all sorts of plays, but it also provides critical essays. One such essay was where I found the Anzaldua quote. This anthology also includes brief, but concise history sections relating to the times in which the plays included were written. By having those sections it allows the reader to understand where the playwright was coming from and living in during the time that the play was written.
