Tag Archives: Psychodrama

PARTICIPATORY THEA AND ROEE (4)

(BEING CONTINUED FROM  21/09/2017) VIRTUE, RESPONSIBILITY, BENEFIT:  THE ETHICAL VALUES OR LENSES PROPOSED BY IFACCA .  • A virtue  – or ‘freedom’  – ethic focuses on issues of  freedom in art and culture;  on freedom of  self ‐expression and the autonomy of  art.  It views creativity and art as intrinsically valuable and therefore legitimate goals in themselves.  • A responsibility  – or ‘rights’  – ethic relates to the cultural interests and identities of  communities and groups,  working in the context of  cultural traditions, and the realization of  cultural rights.  This involves accessibility, availability and provision, participation and inclusion.  • A corollary  – or ‘benefit’  – ethic can see creativity as a tool,  focusing attention on the application of  arts practice in complex social and economic contexts.  It’s also applicable to industrial spheres for e.g. the protection of  intellectual property,  contractual relations with employers and funders.  o How might practice use these ethical lenses?  o The positions indicated under each category are not mutually exclusive and a piece of  work might combine more than one.  The corollary lens, for example,  could combine with both the other two to look at the relationship between creative arts work and social or political intervention.  o The lenses, with their underpinning in human rights,  point up those issues of  ‘inclusion’ and ‘marginalization’ which PT continually addresses and critiques.  What is the work aiming at in any particular context, what drives it?  The value of  these lenses is derived from their relationship to the REF set out above,  and to the Core Principles elaborated below.10 STAGE 3: CORE PRINCIPLES CHOICE, EQUALITY, RESPECT, SAFETY, COMPETENCE.  13.1: INTRODUCTION.  This stage, during which continual reference to the Radical Ethical Framework and Values stages will be made,  is intended to narrow the focus onto a set of  working concepts which both connect with,  and challenge, current ideas of  ‘good practice’ in the political and social spheres.  The research workshop process revealed that the CorePrinciples are resonant with meanings that may be obfuscated by institutional over‐use of  these terms: exploration revealed that many meanings cluster around the words, and shift according to context,  individual interpretation and institutional context. 11  In terms of  the Radical Ethical Framework,  these principles may emerge as a challenge to and a questioning of  legal and institutional concepts of  ‘good practice’ and of  research ethics.  The principles were developed in the context of  work with complex and vulnerable groups for Oval House,  London, by Stella Barnes, their Head of  Education and collaborator in this project.  Under prevailing codes of  practice, notions of  safety, for example,  tend to default to limiting or preventing physical risk, emotional risk, or touching,  They are there to often to protect against legal action and facilitator incompetence,  amongst other things. In arts and theatre practice, on the other hand,  … Continue reading

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PARTICIPATORY THEA AND ROEE (3)

(BEING CONTINUED FROM  29/03/2016) 3. AN ETHICAL FRAMEWORK FOR PARTICIPATORY THEATREINTRODUCTION This section sets out the results of the research process embodied in the workshops and interviews carried out with HE academic practitioners and students.It offers a provisional framework for … Continue reading

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PARTICIPATORY THEA AND ROEE (3)

(BEING CONTINUED FROM 29/03/2016) 3. AN ETHICAL FRAMEWORK FOR PARTICIPATORY THEATREINTRODUCTIONThis section sets out the results of the research process embodied in the workshops and interviews carried out with THE academic practitioners and students.It offers a provisional framework for ethical … Continue reading

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PARTICIPATORY THEA AND ROEE (2)

(BEING CONTINUED FROM 30/05/2015) ETHICAL FRAMEWORKS – CONVERGENCE AND COMPLEXITYWhen it comes to outlining what applied ethical frameworks might be relevant to Participatory Theatre, there  is convergence and complexity.The International Federation of Arts Councils and Culture Agencies’ report ‘Ethics in … Continue reading

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PARTICIPATORY THEA AND ROEE (1)

THE ETHICS OF PARTICIPATORY THEATRE  IN HIGHER EDUCATION 1. GENESIS OF PROJECT: HISTORICAL CONTEXTS AND CHALLENGESINTRODUCTIONThis research is a response to a perceived absence of consensus on an ethical approach to the teaching,learning and professional practice of Participatory or Applied … Continue reading

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