國立虎尾科技大學 |

Affective Facilitation : = Applied Theatre and (De)Humanization = La facilitacion afectiva : el teatro aplicado y la (des)humanizacion.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Affective Facilitation :/
其他題名:	Applied Theatre and (De)Humanization = La facilitacion afectiva : el teatro aplicado y la (des)humanizacion.
其他題名:	Facilitacion afectiva :
作者:	Hart, Sarah Ashford.
面頁冊數:	1 online resource (286 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
Contained By:	Dissertations Abstracts International85-01A.
標題:	Theater. -
電子資源:	click for full text (PQDT)
ISBN:	9798379776633

Affective Facilitation : = Applied Theatre and (De)Humanization = La facilitacion afectiva : el teatro aplicado y la (des)humanizacion.
Hart, Sarah Ashford.

Affective Facilitation :Applied Theatre and (De)Humanization = La facilitacion afectiva : el teatro aplicado y la (des)humanizacion.Facilitacion afectiva :el teatro aplicado y la (des)humanizacion. - 1 online resource (286 pages)

Source: Dissertations Abstracts International, Volume: 85-01, Section: A.

Thesis (Ph.D.)--University of California, Davis, 2023.

Includes bibliographical references

This dissertation rethinks applied theatre facilitation from a hemispheric perspective, to revalue its impact. I argue that affective transformation is a central aspect of applied theatre that is too often overlooked, when the focus is placed only on social change, which is not liberatory when instrumentalized within neoliberal institutional agendas that promote self-development rather than addressing systemic inequality. I propose that an affective approach to facilitation can provide frames for liberatory transformations by making space for the emergence of counterhegemonic, life-affirming relationalities, rather than producing measurable results, particularly in Latin American spaces of (de)humanization. There has been much interest in theater as a public sphere⁠ for human rights claims, emphasizing the ways representational performances intervene in hegemonic discourses. This framework, however, remains trapped within socially constructed concepts of individual identity and largely ignores how applied theatre also moves us towards a more collective experience of being. I argue that face-to-face creative encounters call attention to our response-ability as relational, sentient, embodied beings, which extends beyond that which can be understood subjectively or represented in symbolic and narrative terms.A motivation for this research is the sparse dissemination of contemporary approaches to applied theatre coming from Latin America. Most of the existing texts in English are products of the Global North and inadvertently reproduce (neo)colonial epistemologies; a more decolonial framework is needed, from the perspective of the Global South, to allow a focus on experiential knowledge from below. I therefore look at case studies of my own and others' practices in diverse Latin American contexts of (de)humanization, from immigrant detention centers to victims' groups, from displacement, disappearance and deportation to privileged detachment, in Colombia, Chile and California. Each case study generates distinct insights about negotiating complicity and resistance within violent state/institutional processes of isolation and confinement (understood here as dehumanizing enclosures). There is a common need to reassert the humanity of all those involved in a decolonial sense (by presencing our implication in vital networks of care, as response-able to and interconnected with other lives). This offers an alternative perspective to the large body of existing research that focuses on representation and social integration, moving the conversation from individual self-development towards feeling-with and being-with.The chapters track how different approaches to affective facilitation emerge in each context. Chapter 2 explains how the concepts afecto and cuidado emerge from my practice-as-research with (im)migrant women incarcerated in Chile and Central American youth detained in California. Chapter 3 examines three Colombian facilitators' projects that engage female victims/survivors of the armed conflict, exploring how narrative representation and embodied copresence entwine to facilitate healing. Chapter 4 reveals how audiences can be moved by recorded testimonial performance to feel viscerally response-able to histories of violence, through an analysis of my practice-as-research moving-with digital stories of deportation to Mexico and the embodied testimonies of female victims/survivors of Colombia's armed conflict. Overall, I show how engaging bodies in kinesthetic expression and witnessing in relation to narrative, each other and the context, can facilitate afecto (a connection of care and solidarity), in diverse ways, allowing all those present to attune to love-for-vitality. My main argument is, essentially, that the impact of applied theatre is not only the effect on our ideas and (inter)actions, as in social change, but also a widened sense of what is possible in terms of ways of being and becoming in/with the world.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798379776633Subjects--Topical Terms:

836732
Theater.
Subjects--Index Terms:

AffectIndex Terms--Genre/Form:

554714
Electronic books.

Affective Facilitation : = Applied Theatre and (De)Humanization = La facilitacion afectiva : el teatro aplicado y la (des)humanizacion.
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520 $a This dissertation rethinks applied theatre facilitation from a hemispheric perspective, to revalue its impact. I argue that affective transformation is a central aspect of applied theatre that is too often overlooked, when the focus is placed only on social change, which is not liberatory when instrumentalized within neoliberal institutional agendas that promote self-development rather than addressing systemic inequality. I propose that an affective approach to facilitation can provide frames for liberatory transformations by making space for the emergence of counterhegemonic, life-affirming relationalities, rather than producing measurable results, particularly in Latin American spaces of (de)humanization. There has been much interest in theater as a public sphere⁠ for human rights claims, emphasizing the ways representational performances intervene in hegemonic discourses. This framework, however, remains trapped within socially constructed concepts of individual identity and largely ignores how applied theatre also moves us towards a more collective experience of being. I argue that face-to-face creative encounters call attention to our response-ability as relational, sentient, embodied beings, which extends beyond that which can be understood subjectively or represented in symbolic and narrative terms.A motivation for this research is the sparse dissemination of contemporary approaches to applied theatre coming from Latin America. Most of the existing texts in English are products of the Global North and inadvertently reproduce (neo)colonial epistemologies; a more decolonial framework is needed, from the perspective of the Global South, to allow a focus on experiential knowledge from below. I therefore look at case studies of my own and others' practices in diverse Latin American contexts of (de)humanization, from immigrant detention centers to victims' groups, from displacement, disappearance and deportation to privileged detachment, in Colombia, Chile and California. Each case study generates distinct insights about negotiating complicity and resistance within violent state/institutional processes of isolation and confinement (understood here as dehumanizing enclosures). There is a common need to reassert the humanity of all those involved in a decolonial sense (by presencing our implication in vital networks of care, as response-able to and interconnected with other lives). This offers an alternative perspective to the large body of existing research that focuses on representation and social integration, moving the conversation from individual self-development towards feeling-with and being-with.The chapters track how different approaches to affective facilitation emerge in each context. Chapter 2 explains how the concepts afecto and cuidado emerge from my practice-as-research with (im)migrant women incarcerated in Chile and Central American youth detained in California. Chapter 3 examines three Colombian facilitators' projects that engage female victims/survivors of the armed conflict, exploring how narrative representation and embodied copresence entwine to facilitate healing. Chapter 4 reveals how audiences can be moved by recorded testimonial performance to feel viscerally response-able to histories of violence, through an analysis of my practice-as-research moving-with digital stories of deportation to Mexico and the embodied testimonies of female victims/survivors of Colombia's armed conflict. Overall, I show how engaging bodies in kinesthetic expression and witnessing in relation to narrative, each other and the context, can facilitate afecto (a connection of care and solidarity), in diverse ways, allowing all those present to attune to love-for-vitality. My main argument is, essentially, that the impact of applied theatre is not only the effect on our ideas and (inter)actions, as in social change, but also a widened sense of what is possible in terms of ways of being and becoming in/with the world.
520 $a Esta disertacion replantea la facilitacion del teatro aplicado desde una perspectiva hemisferica, para revalorizar su impacto. Argumento que la transformacion afectiva es un aspecto central del teatro aplicado que con demasiada frecuencia se pasa por alto, especialmente cuando el foco se pone solamente en el cambio social, el cual no es liberador cuando se instrumentaliza dentro de las agendas institucionales neoliberales que promueven el autodesarrollo en lugar de enfrentar la desigualdad sistemica. Propongo que un acercamiento afectivo a la facilitacion puede proporcionar marcos para transformaciones liberadoras por medio de hacer espacio para el surgimiento de relacionalidades contrahegemonicas que afirman la vida, en lugar de producir resultados medibles, particularmente en los espacios latinoamericanos de (des)humanizacion. Ha habido mucho interes en el teatro como esfera publica⁠ para denunciar la violacion de los derechos humanos, enfatizando las maneras en que las performances representativas intervienen en los discursos hegemonicos. Este marco, sin embargo, permanece atrapado dentro de los conceptos de identidad individual construidos socialmente, e ignora en gran medida como el teatro aplicado tambien nos lleva hacia una experiencia mas colectiva de ser y estar. Sostengo que los encuentros creativos cara-a-cara llaman la atencion a nuestra respons(h)abilidad (la responsabilidad tanto como la capacidad de responder) como seres relacionales, sensibles y encarnados, que se extiende mas alla de lo que puede entenderse subjetivamente o representarse en terminos simbolicos y narrativos.Una motivacion para esta investigacion es la escasa difusion de acercamientos contemporaneos al teatro aplicado provenientes de America Latina. La mayoria de los textos existentes en ingles son productos del Norte Global e inadvertidamente reproducen epistemologias (neo)coloniales; se necesita un marco mas decolonial, desde la perspectiva del Sur Global, para permitir un enfoque en el conocimiento experiencial desde abajo. Por lo tanto, analizo estudios de caso de mi propia practica y las practicas de otrxs en diversos contextos latinoamericanos de (des)humanizacion, desde centros de detencion de inmigrantes hasta grupos de victimas, desde el desplazamiento, la desaparicion y la deportacion hasta el distanciamiento privilegiado, en Colombia, Chile y California. Cada estudio de caso genera percepciones distintas sobre como negociar la complicidad y la resistencia dentro de los procesos violentos estatales/institucionales de aislamiento y confinamiento (entendidos aqui como encierros deshumanizantes). Hay una necesidad comun de reafirmar la humanidad de todxs lxs involucradxs en un sentido decolonial (por medio de presenciar nuestra implicacion en redes vitales de cuidado, como respons(h)abiles a e interconectadxs con otras vidas). Esto ofrece una perspectiva alternativa al gran cuerpo de investigacion existente que se centra en la representacion y la integracion social, moviendo la conversacion del autodesarrollo individual hacia el sentir-con y el estar-con.Los capitulos rastrean como surgen diferentes acercamientos a la facilitacion afectiva en cada contexto. El Capitulo 2 explica como los conceptos de afecto y cuidado surgen de mi practica-como-investigacion con mujeres (in)migrantes encarceladas en Chile y jovenes centroamericanos detenidos en California. El Capitulo 3 examina tres proyectos de facilitadores colombianos que involucran a mujeres victimas/sobrevivientes del conflicto armado, explorando como la representacion narrativa y la copresencia corporal se entrelazan para facilitar la sanacion. El Capitulo 4 revela como lxs espectadores pueden ser con-movidxs por la performance testimonial pregrabada para sentirse visceralmente respons(h)abiles frente a historias de violencia, a traves de un analisis de mi practica-como-investigacion de moverse-con narrativas digitales sobre la deportacion a Mexico y testimonios corporales de mujeres victimas/sobrevivientes del conflicto armado en Colombia. En general, muestro como involucrar a los cuerpos en la expresion y atestiguamiento kinestesico, en relacion con la narrativa, entre si y con el contexto, puede facilitar el afecto (una conexion de carino, cuidado y solidaridad), de diversas maneras, permitiendo que todxs lxs presentes se afinen con un amor-por-la-vitalidad. Mi argumento principal es, esencialmente, que el impacto del teatro aplicado no es solo el efecto sobre nuestras ideas e (inter)acciones, como para el cambio social, sino tambien un sentido mas amplio de lo que es posible en terminos de formas de ser y devenir en/con el mundo.
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