theatre people: Representing Live Artists and Radical Hope
Document Type
Oral Presentation
Campus where you would like to present
SURC 271
Start Date
21-5-2015
End Date
21-5-2015
Keywords
Theatre, Experimental, Documentary
Abstract
theatre people is a visual project which attempts to represent a radical point of view for a non-specialist audience. I explore the changing role of the performing arts as a vehicle for social change by contrasting conversations with Millenial-aged theatre students and interviews with Living Theatre founder, Judith Malina. Now 88 years old, Malina has been jailed under a brutal dictatorship in Brazil; was on the front lines of political theatre in Gaza, Berlin, and Prague; and has contributed invaluably to the culture of American and global performance through anarchist, anti-capitalist performance practices. This short documentary creates a conversation with and between these generations of artists, and it is a project which has generated more hope than I expected. I have not employed the traditional expository style. Due to the subject matter, an authorial voice seemed out of the question. The film, thus, utilizes collage aesthetics as a way to represent the collective style of the Living Theatre, and the collaborative nature of theatre-making.
Recommended Citation
Roberts, Chelsea, "theatre people: Representing Live Artists and Radical Hope" (2015). Symposium Of University Research and Creative Expression (SOURCE). 69.
https://digitalcommons.cwu.edu/source/2015/oralpresentations/69
Department/Program
Theatre
Additional Mentoring Department
Anthropology & Museum Studies
theatre people: Representing Live Artists and Radical Hope
SURC 271
theatre people is a visual project which attempts to represent a radical point of view for a non-specialist audience. I explore the changing role of the performing arts as a vehicle for social change by contrasting conversations with Millenial-aged theatre students and interviews with Living Theatre founder, Judith Malina. Now 88 years old, Malina has been jailed under a brutal dictatorship in Brazil; was on the front lines of political theatre in Gaza, Berlin, and Prague; and has contributed invaluably to the culture of American and global performance through anarchist, anti-capitalist performance practices. This short documentary creates a conversation with and between these generations of artists, and it is a project which has generated more hope than I expected. I have not employed the traditional expository style. Due to the subject matter, an authorial voice seemed out of the question. The film, thus, utilizes collage aesthetics as a way to represent the collective style of the Living Theatre, and the collaborative nature of theatre-making.
Faculty Mentor(s)
Lene Pedersen