ARE WE THERE YET?

1.0 Introduction
In the face of an overwhelming economic and political environment, young people in Zimbabwe encounter a number of challenges.Young people constitute more than 68% of the population where unemployment rate currently is over 65%. HIV/AIDS and gender imbalances have remained at the core of the society and young people are the most affected now and in the future. In such a context and regardless of the fact that young people constitute over half of the population youth participation in national development has remained marginal if not insignificant. Despite their socio-economic vulnerability young people are generally neglected and in most cases regarded as rowdy touts with no experience in whatsoever field. While several projects have been embarked on to ensure involvement of young people. Most of these attempts have been merely window dressing with the role of youths remaining peripheral. This situation has created a generation of dormant young people whose voices and thoughts are not considered in local development processes. Their exploitation and abuse has been on an increase as the powerful older people take advantage of their vulnerability. Are we there yet – seeks to reaffirm the position of young people as stakeholders in national development. The project is a platform for the youth to challenge their daily encounters as well as assert the strength of their input in socio-economic and development of their communities.

University Essays and more

QUESTION
Give an evaluative report of your TfD project, assessing its success and failures in terms of Development communication.

This paper focuses on the TfD project conducted by B.A. Honours II Theatre Arts student at the University of Zimbabwe (2006). The report is an assessment of the project’s impact, thus highlighting its success and failure in the light of development communication. The analysis shall be influenced by the general scholarly view on the practice of TfD internationally drawing parallels between the UZ (2006) project and other workshops that have been done before. Four particular stages in the workshop process shall be scrutinized which are scripting, rehearsal, performance and analysis. Where necessary, the report shall make use possible recommendations on some failures raised here in.

The UZ (2006) report dubbed “Eish Tight” was initially meant to explore the replication of negligence of small problems that lie within communities. The intended community was Highfields and a number of problems were identified with a particular naming of their root causes and symptoms. However the intended community was later dropped due to financial and time constraints subsequently the team had to focus onto a closer and more practical community which happened to be University of Zimbabwe. There was a slight shift on the issues to be focused on. The team decided to focus on the social implication of the likes. Unfortunately the project suffered a blow at its inception as it failed to make an effective inclusion of the concerned community. The identification of area of focus was determined by the team in the comfort of Beit Hall chairs and walls.

If understood as a process, development can be considered to be a communal tool through which stakehodklers take action towards change. In many ways development demands community efforts from the naming, reflection to the action praxis stages of development issues (Mda 1993). In this regard, scripting per any form of theatre work has to be understood as part pf a long process. He process involves a lot of research such as community liaison, information retrieval surveys and participatory research. This has to be an objective stage in fact building. In “Eish Tight!”, the researcher stage was not much informed or guided by any form of research technique. Nonetheless this did not hinder the minimal research which the team could engage in. when individuals were tasked to write script on particular issues, for instance, abortion, the tasking entailed finding statistics on such cases and getting down to various complexities yet maintaining the centrality of fee hikes .

One particular weakness notable in the script “Eish Tight!” is that the characters lack urgency; they are suffering in silence without ant form of fight back against the brutal situation they are on. The script seemed to help characters bear a new identity, that which involved adaptation to the unbearable situations they are in and survive through as they “keep on keeping on”. According to Mda the role of a scriptwriter is to encourage the struggle for autonomy and to rally the community towards a certain cause (1983: 14). Contrary to this “Eish Tight!” invites sympathy and self moaning at the expense of progressive action.

Nevertheless one can argue that, the potential of the script layed in the gaps placed in between scenes and the flashback technique which was used. Instead of carrying the audience through a stream of empathy, the script stimulated reasoned responses and discussions as well as sustained some forms of suspense which would later influence judgment and discussions. Moreso the dialogue managed to break the tension through some humourous twist for instance, when Nyasha’s sugar daddy finds the student boyfriend in the room their exchange, though serious is humorous.

As stated earlier on, TfD places the concerned communities at the centre of their learning. This takes place as an ongoing process of engagement. The success of TfD therefore has to be measured by the effectiveness of contracts and lines of communication established between practitioners and communities throughout the intervention / conscientisation process (Jumai, E. 1999:89). Jumai further notes that, “the primary objective of TfD is to encourage community participation and dialogues in development” (1999:89). This can be used as a reflection on the apparent shortcoming in the UZ (2006) project as it relegated the concerned parties to the periphery. “Eish Tight!” rehearsal did not attempt to include the constitute members only the team members took part. This had negative impact on the final product as the audience brought up a different view point of issues at land.

Performance and staging of “Eish Tight!” was innovative. The use of two separate acting areas was not only necessary at the level of character movement, place location or easy scene changes. The staging basically served three functions:-
i) The central stage which served as Henrietta’s room kept the audience reminded of the tragic circumstances of Nyasha from the first scene.
ii) The other acting area resembled hopelessness. It is where students would endeavour to find solutions to their predicaments yet to no avail
iii) The audience was also physical as they had to follow the action from one stage to the other yet maintaining thee juxtaposition by the other stage.

Although not intended by the team, the play managed to employ the distancing effect most common with Mda and Bretch. This was when the whole issue of fees was not confronted head-on and direct. Since the fees shock is still fresh in many people’s minds and hearts it could stir high emotions which can cloud judgement. In The Road (1990), Mda adopts a symbolic interpretation of apartheid in a way which would call the audience to undergo a process of interpretation, assessment to judgement hence critical involvement rather than emotional engagement.

The ironic ending of the performance, through dance and song is also significant. After a parade of a nearly tragic and empathy-inviting situation in which Nyasha is captured, the play had dance and song as an epilogue. The irony is further heightened in the fact that the first piece was Dinhe, a harvest dance which is associated with festivity. The second piece was Jerusalem which has generally happy sexual connotations. In this case the ending had two reasons; the use of Dinhe had a satiric attach on the whole notion of fee likes as a harvest of pain while on the other hand the social engagement of Jerusalem foregrounded active participation.

In measuring the impact of the UZ (2006) project one has to objectively make an evaluation based or informed by on the paradigms laid by TfD experts’ world wide. Paulo Freire (1972) asserts that development is not something that is given but evolves through collective action and reflection of all members of the society. This view considers engaging audience through a process. As in Bretch’s theatre, the audience must not only be end consumers but arouse action. Fingerhat A (1995) quotes him as having said the ideal audience-actor relationship is that of a “street science”. The actor had to help the viewers in the formulation and implementation of opinion (pg 307).

“Eish Tight!” failed at the level of community engagement from the beginning. The community’s opinion and thoughts were not accommodated up until the day of the performance. The community was reduced to a bunch of passive spectators who would absorb entertainment. In an ideal situation the audience would have been placed above the protagonist as they have power to put the raised aspects on a stage larger scale and even some of the suggested solutions.

As if to curb for the shortcoming noted above, the UZ (2006) project made use of the Joker. He was both a conscientisor and interviewer which in a way followed Mda’s description of conscientisation as one which involves naming, reflection and action praxis. The joker would ask questions such as, what is the problem in this situation. Why does this problem exist? And how can the situation be changed? Although audience contribution would not influence the plot, it helped on the general reflection of the issues raised and a sustainable audience engagement.

Concentration on the finished product rather than the process of creation which should be the spice of development, communication impacted intensely on the UZ (2006) project. Cutting corners meant that the project by passed the liberation process of the spectators which is acquired in the scripting and improvisation stages. According to Augusto Boal (1979) the liberated spectator becomes an instrument for he implementation of action. For Boal, the language of theatre (action) can help people not to think passively but in motion (1979: 28)

“Eish Tight!” can be commended for its shift from the producer – consumer relation which typifies the proscenium urch as the one in Beit Hall where the play was performed. The use of flexible stage just before and within the audience space was in its way a reflection of communal ownership of the performance and issues raised. In a way it marked a breakaway from what Kerr refers to as “liassez captalisation of western theatres” (1988: 174).

In the final analysis the UZ (2006) project can be refers to as a remarkable success in as much as it management to engage the audience and the stakeholders. As number of issues were raised in as much as possible solutions were offered on some instances. This cannot however overshadow the apparent shortcoming of the project. Among these were the relegation of the concerned community to the final performance, stressing effort and focus on the finished play also meant the exclusion of the liberating process of the spectators which lays foundation for social action.








REFERENCES

1) Boal, A. (1979) Theatre of the Oppressed, New York Theatre
Communication Group.
2) Duggan, C. (1999) “Strategies in Staging: Theatre Technique in Plays of
Zakes Mda” in Martin Branham et al (ed) African Theatre in Development, Oxford James Currey Ltd
3) Friere, P. (1972) Pedagogy of the Oppressed, Harmondsworth: Penguin
4) Jumai, E. (1999) “Arts and Development II: Furthering the Agenda,
Ibadan”, in Martin Branhem et al (ed), African Theatre in Development, Oxford: James Currey Ltd.
5) Kerr, D. (1988) “Theatre and Social issues in Malawi, Performer,
Audience and Aesthetics”, in New Theatre Quarterly, Vol. 4, No. 14
6) Nda, Z. (1993) When People Play People: Development
Communication Through Theatre, London: Zed Books
(1990) “Maratholi traveling theatre: towards on alternative
perspective of development”, Journal of African Studies, 16 2 (June 352 – m8
(1993) “Commitment and writing in theatre: the South
African Experience”, in The Classic (South Africa), 2,
1;13 – 15
7) Ngugi wa Thiongo (1987) Decolonising the Mind , The Politics of Language
in African Literature, Harare; Zimbabwe Publishing House.
8) Subbiottio, A (1982) “Epic Theatre: a Theatre for the Scientific Age”, in
Graham Bartman and Anthony Wanne (eds) Bretch in Perspective, London: Longman




QUETSION
Assess the significance of Theatre for Development as alternative approach to the betterment of disadvantaged communities, with special references to Zimbabwe

This paper shall define and assess the role played by TfD as a development communication medium in Zimbabwe. The strengths and weaknesses of Theatre for Development in any case shall be presented along and against other mediums of communication and expression. In the analysis, general scholarly contributions on the discourse of V will be used however without overshadowing the context within which the question has to be applied. Theatre for Development is herein treated as a cultural movement targeting marginalised communities with a basic aim of creating a new perception of thinking and world view which encourages action and change.

TfD practice can be regarded as on of the oldest forms of expression and development communication in Zimbabwe. It transcend through generations in the form of socio-cultural practices which include orature, ritual song and dance (Chifunyise, S. 1994). Theatre has been used as a medium in communication. It is employed as an animating process for building up he people’s capacity to create performance through which they can analyse and interpret their circumstances thereby beginning process of conscientisation and organisation source? In a way TfD can be referred to as a socio-cultural construct intended to act as a basic for improving people’s livelihood.

Significantly TfD has to be understood as a process rather than an activity. According to Penina Mlama (1991), a typical TfD process is that which enabled Man to study and form on “opinion about his environment” (pg66). She further argues that Man acquire a mind frame which necessitates action. Chimowa, K. C. (2004) gives atypical TfD workshop structure where plot freezes allow audience interjection thereby giving their own views to the action. The final product of this process is this a collective effort (pgs 44 – 45). Chimowa a purported that, the narrator in TfD
… draws upon shared knowledge and value by allowing the audience to
intervene in the happenings (2004 : 45)

if understood as a process, v encompass a number of stages to be considered or observed so as to create and facilitate effective communication. Although there is no blue print formula some of the typical stages include negotiation, research, analysis, improvisation, performance and consequence. This gives a platform, for both performers and participants an opportunity to create a comprehensive and “all encompassing” product based on a participatory building process. The process ensures the creation of trust and showing as well as general participants within the concerned communities.

TfD’s impact and significance can also be reviewed at the level of its affordability. It can be regarded as a cheaper mode of communication which in turn does not compromise on the quality or intensity of information dissemination and initiating social action. A Theatre for Development can require the use of objects which stand for something else rather than what they really are. This implies that once an object is put on stage such as props or characters, it looses its original nature to become a symbol representing something that can be defined by context. By doing so audience into the course of the action, interpreting signs and symbolic meaning of certain objects. In a CHIPAWO Production of “A journey to Yourself” (2006) a four-legged ladder which initially is the narrator’s platform constantly change into a root top at one point to become a bridge or a bus at some point. According to Zex Mda (1993) this is “the best method of examining how meaning is negotiated between the performer and the spectator”, (pg 82). Apparently, this stand point seems to be shortsighted in the fact that it is limited to the performer – audience relationship and not vice-versa. Subsequently audience comprehension is not negotiated hence communication is not complete. In this light TfD’s effectiveness as a development communication medium is minimised.

In The Development of Africa Drama ( ) Etherton describes TfD as a particular performance with the potential to reconstitute the world in the action of drama. It raises the community’s consciousness to their immediate problems and creates alterative frames of existence hence facilitating change. The Murehwa (1983) TfD workshop in Zimbabwe was instituted and conducted within this respect. Learning was contextualised with the community being given the centre stage of reveal their innnerselves. According to Ross Kidd, the facilitators were there only to animate the drama as well as to analyse the process.

Tawanda Chisango in Southern Africa AIDS Action (issue 61 September 2004) argues that involving communities in a personal way is the only way that can enable them to experience their realities without accusing or sidelining them. Development becomes a community agenda rather than dictation from aliens who do not have any sharing in the community’s experiences. Since it makes use of community, TfD is culturally correct and context sensitive.

Unlike other mediums of communication, TfD is a practical process which enables communication between stakeholders in the beneficiary scales of development (SAAA, issue 61 September 2004). This implies that it harnesses a people’s contribution into development. Moreso, TfD is a shared experience which treat participants as subjects rather than objects who need to be spoon fed with information. According to the Zimbabwe Human Rights Development Report (2004) many initiatives on combating HIV / AIDS in Zimbabwe have failed due to their inconsideration of the context within which they are implemented. The report denotes that in Zimbabwe where about 70% of the population is in remote areas such medium as radio, television and print media are inaccessible hence irrelevant.

Considering the fact that literacy levels are around 50% in Zimbabwe (ZHRDR, 2004) and that our society thrives on orality and live performance, TfD can be closest and likely successful mode of development communication. As stated earlier on, TfD uses the people’s language and cultural performance in its communication hence it is immediate and easily comprehensible. PATSIME Trust, a Southern Africa AIDS Information Dissemination initiative, has adopted the use of song, dance, drama and other cultural performance to communicate HIV / AIDS information and has made some condemnable contact with communities around Zimbabwe. Chifunyise, S. (1994) has regarded TfD as having become a popular communicative tool which not until identifies development problems that searches for solutions and builds collective strategies for the communities’ well being.


However the apparent difficult faced with V practise in Zimbabwe is that in most cases facilitators have hijacked the learning process to become theirs thereby leaving communities on the periphery. In the Murehwa workshop (1983) facilitators took over the evaluation process to become theirs. Despite the fact that villagers had took part in the framing of their development, facilitators went on to evaluate the villagers problems thereby creating their own value judgement.

Although in theory TfD emphases on community participation in Zimbabwe the case has been a bit different. Pastime for instance , has created a team of artists whose duty is to facilitate TfD workshops, yet in actual fact these artists have and are going around the country delivering performances on HIV / AIDS. This has been more or less the case with SHAPE Zimbabwe (a University Based NGO) were a musical project initially made for students to explore and express their feelings through song which at present has been sieged by he staff to become theirs. In this case developments communication becomes biased and takes the donor driven vertical concept where the people concerned become objects in the process.

Moreso the use of traditional forms of expression such as narration and rituals seems to undermine the cultural significance and function of these. The use of orality for instance, as a tool in TfD seems to subvert it to a mere utility function. This underscores the capacity of folk media without any association to TfD. This criticism is not valid since folk media is the language of people.

Nevertheless TfD as a development communication medium is more community centred and raises the voices of those whom development is concerned. Communities are brought forward to create their own stores and have room for change rather than donor driven prescriptions which are in most cases very factual yet detached from communities’ reality. TfD practitioners in Zimbabwe have taken advantage of its immediacy to culture and context to create a living and ongoing communication process.




















REFERENCES
1) Chifunyise, S (1994) “Trends in Zimbabwean Theatre in Zimbabwe Since
1980” in L. Gunner (ed) Politics and Performance; Theatre, Poetry and Dong in Southern Africa Johannesburg, University of Witwatersrand Press.
2) Chinyowa, K. C. (2004) “Shona storytelling and contemporary performing arts
in Zimbabwe in D. Kerr (ed) African Theatre; Southern Africa, Cape Town: James (Currey Ltd.
3) Chisango, T. (2004) “Theatre for Development” in Southern Africa AIDS
Action Magazine, Issue No. 66 September 2004 pg 1 -4
4) Etherton, M. ( ) The Development of African Dram.
5) Kidd, R. (1984) From People’s Theatre for Revolution to Popular
Theatre for Reconstruction.
6) Mda, Z. (1993) When People Play People; Development
Communication Through Theatre. London Zed Books.
7) Mlama, P. (199) Culture and Development: The Popular Theatre
Approach in Africa, Uppsalla Matala.








QUETSION
When Ordinary people are asked the difference between screen acting and stage acting they provide answers like, when you cat for the screen
‘do less, Make it more real, Tone it down, Be more still, Scale down your performance
Tucker (1994) dismisses these reactions as “all wrong”. Do you agree? Give reasons

The general essence of acting either on stage or for the screen is to convey a message. Actors therefore have a mandate to be real and believable although with some variation depending on the medium. The aspects raised in the question in hand must not be take as absolute for these can be entirely situational therefore variable. On the other hand Tucker’s dismissed of the assertion has to be regarded as truthful t some extent although it is shortsighted thus not to be regarded in its outright nature.

As stated in the quotation, the general assumption among people with regards to film is ‘ a less vigorous form of theatre’. This view assumes that for a stage actor to fit into screen acting, one has to scale down performance into a somewhat still and less externalisation of emotion must be conveyed with minimum yet authentic expressions which when viewers see they are ready to believe it as real.

Rotha, P. (1956) distinguishes theatre and screen acting at the level of basic requirement which is “projection” in theatre, the ability “to project” is one of thee greatest of a stage actor’s assets. Self projection means heightening, enlarging vocally and physically which is “larger than life”. In film these must be put aside for they are compatible. In a way this seems to align with what Tucker refers to as ordinary people.

On the contrary this view seems to limit the concept of film acting to a more five principles system which according to Tucker (1994) “is all wrong”. In other words one should first understand the concept of acting itself before attempting to distinguish the requirements between the two mediums. As stated earlier, one should consider acting as a way of representation of reality and not reality itself.

The above argument therefore dismisses the minimization of reality to screen acting as it can also be achieved on stage. Reality in screen acting is also questionable as there is prevalence of “cheating” that remains uncaptured by the camera. The vast technological gap between the action and audience totally disqualifies the idea of being “more real”. Instead what the viewers see must be understood as an illusion of reality. The gap between two actors on screen can be more convincing as real yet it is created by making two actors literary squashed to fit into the camera lens which s not natural or life like.

While the three dimensionality of stage actors is more natural and real nomatter what angle one is seeing from, with the screen, it is the camera which pick up on viewing angles hence creating its own images which is not what the audience could have necessarily picked on if it were theatre or real life. One would question the assertion that screen acting is more real yet at the same time disagreeing with Tucker. Pieter Fourie (1988) argues that electronic images have an intense impact in presenting reality. Such images can be experienced as “real” since they have potential to portray, observe and express meaning.

The difference between these two medium of acing can be regarded as the one between performance and communication. This implies that theatre is more elaborate and highly performance as compared to screen acting facial mannerisms which pass unnoticed in the theatre become unsightly and grotesque through the camera’s eye. Where mood is conveyed using the whole body on stage, it is reduced to the face on the screen. Screen actions would demand subtlety and small facial expression as they can be comprehended as real. Radway (1984) alludes to the fact that nomatter how an actor mininmises his scale of performance (on the screen) the message is put across. Taking form Jacobson’s six elements to share his point of view and get them engrossed in the beauty of the images of the screen.

Radway’s point of view has short falls in that it does not diversify the demands that come with each shot on the screen. Tucker (1994) argues that the screen actor has to adjust the scale of performance to the size of the shot. This implies that one has to change the style of acting from shot to shot and set to set yet in one production. In some instances the idea of toning down the scale of performance is disputable as in a wide shot where actors become more melodramatic and theatrical an in a close up shot where one need to be beyond what would be done in ‘real;’ life.

One might argue that the major difference in stage and screen acting is at the level of character, audience and generally the medium. While in theatre an actor can assume any role in screen acting the actor has to fit into the character form the character and vice-versa. The actor takes directly from the character though with a particular attention on detail and all given circumstances. This becomes more real than the imagined make-believe in theatre where an actor can play a role quite on the contrary to his physical attributes.

In both medium the actors have to be aware of their audience which in turn influences their style of acting. For the stage actor, the audience is live and sustains him throughout the performance thereby creating a communion which should be sustained. On screen the immediate audience is the camera which literary sits on the actor’s nose thus demanding limited performance yet believable to the end consumers.

In a nutshell, it can be argued that while these two forms of acting seek to convey reality with the same passion each medium has it specific demands in terms of visions and sound. While Tucker disagrees with the ‘ordinary’ people’s assertion it must not be dismissed as all wrong as not absolute for it has short comings.











REFERENCES

1. Darlington, W. A. (1949) The Actor and his Audience. Phoenix House,
London
2. Ellerson, B. (2000)Sisters of the Screen Africa World Press Inc, Eritrea.
3. Fourie, P. J. (1988) Aspects of Film and Television Communication. Jupta
and Company Cape Town
4. Radway, J. (1984) READING THE Romance Women, Patriarchy and
Popular Literature. University of North California, Chapel Hill.
5. Tucker, P. (1994) Secrets of Screen Acting. Routeledge. London
6. Tulloch, J. (1990) Television Drama, Routeledge, London.












QUETSION
Using any dance production of your choice. Examine the non-verbal communication in a social setting

“Disclosure” (Tumbuka: 200) is an exploration of the feelings, experiences and reactions of a society in the face of the HIV / AIDS pandemic. As in other forms of communication such as written or spoken’s use of figurative language, “Disclosure” applies choreographed movement which create aesthetic effects which can be watched by the eyes and understood by the mind. The ballet movements in the dance are used to transcend into life’s rhythms through the lovers, the infected to the affected which all define our current challenge in the face of A.I.D.S. In its totality “Disclosure” is our society’s reality communicated through movement.

Dance in general has been defined as a unique social interaction that sends both intentional and unintentional message. It instigates effective transformations, changing mental structures and spatial meanings (Bradlon, 1998). This implies that, it can change moods and influence perception while at the same time acting as a force of attraction. The communication and intercourse in dance is in the movements which can be defined s non-verbal communication.

Naturally, human movement is some form of communication. It expresses ideas, feelings, abstraction, and relationships in most cases more than what spoken word can achieve. Movement’s communication process works in a dual ‘formulae’ which can be referred to as, a process of self-understanding and the decision to share with others. In actual sense, dancers explore their innnerselves and their worldview which they inturn share in a dance expression.

The movement in “Disclosure” can be understood as gestures which are total in analogy. They carry mean.. and feeling just like words either for the dancers or the audience. 18 understood in our cultural context movements in “Disclosure” contain some connotations and associations which can be comprehended by the spectators. Moreso if these moves are considered to be like words, when put together they make up phrases, paragraphs and a story in turn. In other words “Disclosure” maintains some form of sense and meaning in its movement which forms the basis of communication.

Non-verbal communication in “Disclosure” is manipulated at the level of touch interaction space, gestures, facial expressions and dress. In as much as daily language varies in voices, choice of words and gestures, in “Disclosure” the variations lie in the change of rhythm, speed, direction, level and quality. The gesture’s are flavoured by the use of arms, head and props.

Culturally people from contact cultures would prefer more immediate non-verbal behaviour them those form non-contact cultures (Rawland et all, 1995). In “Disclosure” touch is used with intense attention and sexual connotations. Affection and sexual intercourse are expressed through touch. The loves in the dance hold each other very closely in repeated circular movement which can be interpreted as romance. This is then followed by a lady dancer’s repeated up and down movements on a male partner who in a way emulated love making in our understanding. At some instances however, … becomes an act of hostility and discrimination as the infected are pushed off the “community”.

Interaction space in “Disclosure” is used to express relationships and situations. When the two lovers meet they are strangers such that the space between them is so vast that one can suffer form misinterpreting the relationship as hostility. The rhythm is inconsistent in as much as the speed is slow and the quality of the movements so poor and suspicious. It keeps the audience in suspense up until the relationship is built between the two. The speed in “Disclosure” follows the plot and the relationship between the main characters up until the climax to the falling action. A building intimacy between the main characters is characterized by a closed interaction space which in our cultural context can be aptly understood as love.

Facial movements and eye contact further express the level of intimacy up to the sexual intercourse as well as in their agony after rejection by the society. In non-verbal terms this is referred to as kinesics. It is used in the production of signals if psychological and physical closeness. In a social setting it reflects availability of communication thus increasing sensory stimulation (Anderson, 1985). Audience comprehension is this reinforced from their socio-cultural levels of understanding. Instead of being mere random movement “Disclosure” can reach out to give society a reality through non-verbal communication.

When the central characters, who are infected, suffer rejection by the society, they tilt their heads in despair and agony of the disease. To their background (upstage) there are dancers who will be reflecting on the destructive effects of such upon the society. This is done with the use of chairs representing the society and the dancers’ action upon them being the vandalism of the society. The same chairs used in the passing on of the virus. One can read through such actions without any help of spoken word. According Lucky Ali of Black Umfolosi, dance transcends cultures and takes over where words cannot communicate (Dr G Chatterjee, 2006). This has proved to be the case with “Disclosure” which has been successfully shown to people of various cultures yet with more or less understanding of the dance.

“Disclosure” also employs dress and colour as non-verbal communication modes. These are used to suggest social status occupation attitude, character and health conditions. The female partner (main character) is dressed in an all red dress which can be used to suggest her love and more importantly her health status which is HIV positive. In turn the make partner is in Khaki botton which probably represent an ordinary man in the society. The other dancers are in black and while in the care scenes towards the end they put on white dust coats. All those who are infected have an arm-sleeve in their right hands to reflect on their status.

However the role of non-verbal in communication must not be over excited. Non-verbal communication is limited in scope. Although it has more weight and influence than verbal message, it has a more limited range for expressing concepts and ideas. It can easily be confused due to its ambiguity and a listener audience can give a tentative interpretation of what he has gathered. Thus in a way it strongly depends on the comprehension levels of the audience.

More importantly non-verbal communication depends on cultural interpretation and attitudes of both the dancers and the audience. In contact cultures, the interpretation of interaction space can mean something totally different in non-contact cultures. In the some light interpretation of dress and colour lies within cultural confinement. The use of the red colour in “Disclosure” for instance can be understood differently by Russian and a South African. In Russia red means beautiful, in India it is a soldier, in South Africa is a colour of mourning while in China it stands for good luck (Mahjubah, 2020). If the same show would be shown to such a audience each one would derive a different meaning.

In the final analysis, one can argue that non-verbal can be effective in the expression of emotions since they are more subtle and subconscious that inner emotions can spoil easily into them and understood by the next person than the spoken word. While they contribute about 93% of communication and 60 – 65% of social meaning, non-verbals alone not complete. Their role in communication is to strengthen, augment and intensity the verbal. If used effectively non-verbals, put life into the spoken word, lending vitality to the monotonous verbal codes.








REFERENCES

Books
Anderson, P. A. (1985) “Non-verbal Immediacy in Interpersonal Communication” in A. W. Skegaman and S. Feldstein (eds), Multichannel Integratins of Non-verbal Behaviour, Hillside, N. J. Erlbaun

Brabazon, T. (1998) Disc(ourse) Dancing: Reading the Body Politic. Australian
Journal of Communication, 24, 104 -1 14

DeVito, J.A. (1989) The non-verbal Communication Worksbook, Prospective
Heights, IL: Waveland Press Inc.
Remland, M. S. et al (1995) “Interpersonal Distance Body Orientation and Touch:
Effects of Culture, Gender and Age”. Journal of Social Psychological, 135

Internet
Chatterjee, G (2006) “MASK – A Universal Language of Cultural Aesthetics”
(Available: http://www.ibiblo.org/gautam/heri0015html

Department of Communication Studies ODU (2006) “Dance movement and communication
(Available; http://www.odu.edu/al/dance/mission.html


QUESTION
Identify one traditional dance and give its background. Describe the context within which the dance was performed. What changes have been effected to the dance in its neo-traditional context and what function does it serve?

Dance has been defined as a complex form of communication that combines the visual kinesthetic and aesthetic aspects human life. Many Zimbabwean traditional dances fall under this definition. Among them is the Mhande dance which was both a ritualistic and entertainment dance.

Mhande is believed to have origined among the Karanga speaking people of Masvingo. It was a dace that would make the whole society participate although with varying degrees depending on occasion. In a society and hunting it was most likely that people would me rituals before a planting season or a hunt. The main reason behind this was for the people to communicate with the spiritual world.

As the seasons and hunts came and passed so the rituals to the God whose name was Mwari with attributes of the creator and the fountain were practiced. They did not only go as dancers and songs but a specialised kind of worship that had to occupy a certain portion of the society. In a way Mhande because part and parcel of the Karanga people of such areas like Chivi’s lives that it could not be divorced from them as it defined their beliefs and customers.

Most significantly Mhande was a ritual dance that was performed during rain-making ceremonies (Mukwerera). The society would gather under a ‘scared’ Muhacha three to appease or plead with ancestors for rain. Mhande was accompanied by songs that called or asked for rain as in this particular context. There was also massive drumming that imitated the sound of thunderstorm where the name Mhande is believed to have origined, (Mupande). When the dancing was done, the climax of the ceremony would be a seizure of a medium delivered the words from the ancestors to the people. A dance of appreciation or appeasement would then conclude the ceremony.

Whilst the songs pleaded for rains and the drums suggesting thunder that would soon follow, the stamping of feet was less vigorous. This was believed to have influence on the capacity of the rain that would follow. Moreso the Magagada tied around the dancer’s legs produced a sound that imitated the dripping of rain to the ground. The dance also involved variations that imitated a man holding a hoe weeding or planning as well as opening of arms that resembled formation of clouds.

It is also interesting to note that Mhande would be performed on the installation of chiefs, funeral ceremonies and when evoking man’s spirit. As in the rain-making ceremony on installation of chiefs, Mhande was used to evoke the trance into the medium who would then chose a chief with ancestral guidance. It is the same case with the Kurova guva ceremony (evoking the dead man’s spirit) where the dead man’s spirit is induced into a family member through dance and music. The difference of this Mhande ritual performance laid in the contents of the song where pleading for rain people would sing such song like:-


Caller : Dzinomwa munaZambezi
Respond: Mhondoro dzinomwa

Caller : Dzinomwa munaSave
Respond: Mhondoro dzinomwa
(spirits and ancestors drink form the large rivers Zambezi, save) where as on kurova guva ceremony people would sing suggestively like

Caller : Toveka mudzimu dzoka
Respond: A oyiye mudzimu dzoka
(Come back the spirit, please come back).

In its entertainment form, Mhande was performed on marriages. In this case it was made to bring together the two families through encouragement to the couples. Although with similar variations young me and women would dance with vigour as part of celebration.

Unfortunately, Mhande, kike any other traditional dance has fallen prey to the colonialist’s devices or rather western influence. The 1898 witchcraft suppression Act imposed in Rhodesia against traditional customers left Mhande in oblivion up until the 1970s. It is during the second Chimurenga that Mhande was reinstated although with a different agenda. It became part of the might vigils (pungwe) performed by liberation fighters as a means of boosting morale. There were some traces of induction of trace into spirit medium who would guide people but it had lost its traditional value where it was performed under the Muhacha tree.

In its contemporary sense, Mhande is just a mere outfact which was more to do with form rather that context. Where it was once an expression of the life and the cult it has been reduced to a entertainment function that basically deals with talent. Modern dancers who perform Mhande are no longer concerned with the strict black and white costumes, that were symbols of the living and the dead, dancers can wear any material available. Moreso, the performance is no longer restricted to be under Muhacha tree, for it can be performed on proscenium stage or just n open space like the Harare International Airport on reception of some important visitors.

The composition of the dance and the accompanying music and drum as also been effect. The dance movement of dragging the legs in the formation 123, 1234, 123, to 12345. 123.

Modern performers such as Hohodza Band have gone on to add electric guitar to the instruments. The dance has become less sacred that no age restrictions are made for there is no longer anticipation of possession. Infact some children are now taking part in the dace and at tomes imitating the medium.

In a nutshell was both a ritualistic and entertainment dance in its traditional context. It held an important part of the society which however has since died. Currently it is an entertainment dance that can be performed anywhere, anytime by anybody willing to.



REFERENCES

1. Asante, K. W. The Zimbabwean Dance Aesthetic Senses, Canons and
Characteristics in Asante K. W. African dance: An Artistic Historical and Philosophical Inquiry (1996) Africa Worldpress Inc Asmara, Eritrea.
2. Asante K. W. Zimbabwean Dance: Rhythmic Forces Ancestral
Voices; An Aesthetic Analysis Africa World Press (2000). Asmara
3. Kavanga, R. M. Making People’s Theatre. Wits University Press (1997) J.
4. Nkeita K. J. H. Possession dances in Africa Societies in Journal of the
International Folk. Music Council 9 (1957: 4 – 9)
5. Rubin, D. The World Encyclopedia of Contemporary Theatre.
(Africa) Vol. 3 (ed) Routledge (1997) London
6. Schenecher, R. From Ritual to Theatre and Back: The Efficacy
Entertainment. Vol. 1 Routledge (78) London.









QUESTION
Discuss in detail constantin Stanislavisky’s psycho-technique. In what way(s) is it different and or similar to Jerzy Grotowski’s theories of acting.

Stanislavisky’s psycho-system evolved from elements of psychological and psycho-physical nature that teach an actor to arouse at will his unconscious creative nature, subconscious and organic matter. The system evolved from a period of experience with the Moscow.

Company and is not based on reasoning. Through such a system, Stanislavsky sought to introduce the actor’s inner and outer work on his own and the character he is playing. Its main concern was to achieve psychological realism where the audience would be live in what they saw on stage as reality. Stanislavsky’s technique is therefore a technical and conscious method which involves text analysis and spiritual preparedness to take up a role. On the contrary, Grotowski’s “poor theatre” emphasized on an actor who is subtracted to achieve transparency. This involved elimination form the creative process the resistance and obstacles caused by one’s organism. Moreso the poor theatre emphasized more on the body of an actor than the mind.

The psycho-technique has ten basic aspects which are; creative state of mind imagination, concentration , the feeling for truth, the magic if, the given circumstances, emotional memories, action, rhythm and communion. These can be amalgamated into two main categories based on what they seek to achieve. Through the system Stanislavsky wanted to introduce the actor to firstly the inner and outer work on his own. Secondly, the inner and outer work of the actor on his part.

On the first category, the actor has to be prepared spiritually and ensure that there are no anxieties that can deter his acting. The spiritual preparedness is defined as inspiration or creative state of mind. Since inspiration cannot be critically produced now can it be taught by the director, Stanislavsky discovered certain wants favourbale for inspiration. He noted that there must be complete freedom of the body and total relaxation of muscles. The extend as to which this aspect can be helpful has been doubted by ‘loti lane (1989) who says. No cult can be effective substitute hard study and self education.

Referring ‘the system” to being a “cult” Lane further argues that each cult may however offer some enlightenment. Relaxation brings meditation which inturn automatically relieves the body of its tension.

Stanislavsky’s system is complementary inspiration leads into imagination. This aspect sees the actor’s mind as the most central tool through which he has to bring out the essence of his characters. All the actions should be a product of subconscious and intuitive contributors of an Actor (Stanislavsky 1980). Imagination brings and actor in a stream of questions such as where am I? What do I want, how am I going to achieve this? This helps an actor understood the character he is playing and understand himself in relation to it failure of which result in the audience failing to understand the characters and his actions. Lane (1989) argues that an actor must not be a murderer to play a murderer, he only needs to imagine any circumstances in which one would feel an urge to commit murder. The power of imagination lies in its capacity to transform an actor into the character. Darlington (1948) has alluded that imagination is the first qualification of an actor. This, according to, him encompasses make believe, mental envolvement and impersonisation but how an actor achieves this remain mysterious.

Stanislavsky denotes that,
The best thing to happen in theatre is to get the actor completely
carried by a play. He downs not notice how he feels, not thinking
what he does and it all moves of its own accord, subconsciously
and intuitively (1980: 13)

such an experience in theatre is as on result of concentration. Craig Gordon as in Stanton (1996) refers to concentration as single mindedness and individual magnetism or window dressing. Its function is to remove nervousness and self consciousness which causes such mistakes as talking softly or fastly, breathlessness, corpsing and thefty glances on the audience. The actor has to flow in action of the play and leave out anything not related to the play. Lane (1949) says
A person who is mentally lazy who lacks … the ability
to concentrate cannot hope for success in the theatre, p 42

concentration can be said to be vehicle trough which an actor drives into the character’s position. It carriers with it some kind of emotional relationships that can be created between the actor and the audience. The relationship can be said to be radiation, communion, or communicating. Communication can be external or internal. Stanislavsky notes that there is always some contact with an object in the mind even if one is silent, blindfolded or ear blocked. An object can be a sign of life or can contain the life if the artist allows himself to be absorbed on it. Without a word the actor’s body can communicate with the audience, the eye for instance mirrors the soul hence a vacant eye mirror. A vacant soul. The spiritual back rock that makes an actor able to have soul reflections should be shared with other actors in as much as it must be realized by the audience. If any actor loses concentration he is swayed to outside objects.

Communication has to follow some kind of a rhythm. This is a way in which movements are structured in a systematic manner. The play is divided into units with beats that carry detailed analysis of aspects. This enable, the actor to do what he wants with the audience. Tempo express itself in physical activities and dialogue in the play and it derives from outside experiences. If an actor want to communicate with the audience he has to fully realised the play’s situations and the specific tempo required.

Although the psycho-system is an integrated system with its ten aspect one can, as noted earlier, categorise it into two. The second category this seeks to put the actor into the stead of the character he is playing. Realization of a character’s experience helps the actor in becoming the character. An actor has to analyse the play’s given circumstances which involves the story, events, facts, time and place of action. Given circumstances are invisible but their absence is felt, without them the play exists in an abstract society. In order to play genuinely his role an actor has to understand forces at play such as what are social standards what social groups are represented, what laws and who enforces, who confirms and what are the rewards? Economic, politics, law, spirituality intellect and culture should be considered. Clark (1965) denotes that given circumstances of the play have to govern the extend of the actor’s becoming and reacting.

Given the background of the play, it is the actor’s duty to imagine himself in the character’s situation. This aspect is called the magic if or the inner stimulus of supposition. When one is acting there must be a motive, justification, logic, coherence and reality. An actor has to be absorbed into the super objectives the line of action lift an actor from the world of actuality into a realm if imagination. This is done by outing one in onelse’ feet hence felling what anybody else would fee in any given situation. The response to the “if’ is sincere and definite ad its success lies in that it does not sue fear or force, it takes from empathy which is natural. Chekov realised the importance of the “if” and start his play by “what would happen if a simple farmer …?” and Tostov who had been given the farmer’s role said, “what would I do if the case came up to me to judge? (Stanislavsky 1980 : 48). Such an “if” helps the unconscious creativeness through a conscious technique and it ouches one into imagination while the given circumstances give the basis for the “if”.

The magic of is a step forward creation of a life filled performance and is in this way a backrock for emotional memories. Essential in any creativity is “the life of a human spirit that the actor and his part their joint feeling and subconscious creation they can only produced spontaneously as a result that has gone before. Emotions help us identify with the characters inner motivations and leave a life long mark on the audience and transform the actor into a real being rather than mere voice and action. Darlington (149), stresses that, the great actor’s secret is to feel an emotion so intensely and express it so vividly and share it with the audience so completely. However feeling an emption does not necessarily go with having experienced it in the past, instead, what is needed is an imaginative mind that can place itself into the given circumstances and ability to explore the physical and emotional attributes of the characters.

An actor’s truth in feeling and sensation is also important. One has to play truly, that is, to be right, logical, to think, strive, feel and act in unison with the role. According to Stanislavsky this is called “The feeling for truth”. It is the actor’s responsibility to fit in the human qualities of the character and create the inner life and express it as an art which the audience can create to.

Stanislavsky (1980) states that true art starts where feelings come into it and it ends where mechanical acting begins. Feeling and beauty of an artform are noticeable in a well prepared mind, voice and body which act in the expression of most delicate and largely subconscious life. Truth operate at two different levels which are, one that is produced automatically and on the place of actual fact. The second level is scenic type which originate on the plane of imagination and artistic creativity which the actor has to use in justification of his role. For these to take off one has to believe that “it can happen”.

Theatre’s communication and expression lies in action. Action in more than a simple exercise because it requires motivation for it to be complete. It deals with objectives and superobjectives. For a character to get what he wants he has to fight obstacles along his way, action thus, forms the basis for acting.
Action can also refer to the physical movement of actors on stage. One has to be able to represent the physical endowment of a character. The only instrument capable of achieving this is the actor’s body, the face for instance, can express an attitude, love, heat or joy. Clark (1965) regards this as a synthetic aspect of a character. To achieve this the body was to undergo some physical trainings to leave the body malleable for it is an instrument of a wide range of communication. Action helps the audience not only laugh but understood the essence of the play. Without proper tuning of the body one is subject to become a mechanical actor who follow convention and gesture, movement and voice. Mechanical actors do not walk they “progress” on stage for gestures, action and motion. In order to achiever a real character Stanislavsky says that:-
The difficult should become habitual, the habitual easy,
the easy beautiful hence it needs relentless systematic
exercise (1980).

The V system despite its credibility as a case of experience not reasoning has been subject to many criticism. Archer (1960) argues that “character cannot be acquired not regulated by theoretical recommendations” (pg 245). This argument stresses that character drawing is different to psychology. To Archer a character is a presentment of human nature in its commonly recognised, understood and accepted aspects while psychology explores the character, bringing of hitherto unsurveyed tracts within the circle of our knowledge and comprehension. In other, Stanislavsky’s system does not consider the synthetic aspect of an actor-character relationship and does consider the analytic side. The latter deters the attempt to create real characters and makes art more philosophical if not an artificial discipline which the audience cannot relate to.

While believing in the idea of inspiration Mochalov in Stanislavsky (1950)dismisses any conscious factor in creativity as nuisance. One might further urge that inspiration is a natural endowment which goes and comes at will and cannot be called into existence by any human making theory or practice, it is totally natural.

The psycho-technique assumes that Stanislavsky had invented a system that had to be followed by all directors and actors yet it is part of our organic beings based on the laws of nature. An artistic image has to follow some order but not necessarily a technique or theory. The system should not be treated as a case of relief in art it can be viewed as a documentary of what had already existed. One might also argue that Stanislavsky’s and impractical for many actors have come and gone by before him with remarkable success.

Stanislavsky’s approaches take psychological to extremes and this made him fail to understand many plays especially those of Chekhov. Valency (1966) however, supports Stanislavsky on this issues as on his research on the Seagul
Stanislavsky: … had no intimate knowledge of the provincial
gentry, or the country environment which finished Cheklhov’s
plays. The pretty quarrels, the atmosphere of indolence and
boredom, the economic exigencies and social amenities of
provincial life were alien to his experience and had to be
reconstructed imaginatively (pg 169).

In this report Stanislavsky’s approach was essential for it helps out what is not given directly in the text. Such information that lies in between the play’s lines are necessary if ever a good actor and performance that relates with the audience is to be achieved.

On the contrary to Stanislavsky’s system are the theories of Jerzy Grotowski who founded the “poor theatre”. According to this theory, an actor has to go and leave room for the character and not to be trained to create an emotionally exciting play. Stanton (1996), further argues that Stanislavsky’s actors to achieve realism hence sacrificing the most fundamentals of the art of theatre which is play.

Schechner (1988) has identified two distinct process in acting which nay way put Grotowski and Stanislavsky on two different angles. One of such processes where an actor subtracted to achieve transparency, eliminating “from the creative process the resistance and obstacles caused by one’s orgasim”. (Grotowski; 1968 : 78). Such action are like sculpture that has to be carved form a mere stone into a worth looking artfact and are referred to as “ecstasy” or “holy” actors in Grotowski’s theories. “Holy” actors do not have moral binding or restrictions, even if they were to be naked it would not be immorality because they would be pursuing their orgasim.

On the other hand are “trance” actors who are possessed by the other. These are character actors who are added t become what they are not. Stanislavsky’s kind of actors quality under this description yet Grotowski denounce an actor who acquire any kind of recipe or build up a “box of tricks”. Instead, the interior ripening of an actor has to express itself through willingness to break through barriers to search for a summit for totality. In place of adding to the actor as Stanislavsky’s system attempt, Grotowski stressed that an actor has to be freed from “habits”, the obstacles of his body, his half-heartedness handing bend masks which kills his originality not creativeness.

As alluded t by Brown (1982), Grotowski’s pre-occupation was to save theatre from collapsing hence sought to develop a renewed vitality of the old truth. He acknowledges the actor-audience relationship as the core of theatre. To him reviving, it would only be possible through elimination of depending on stagecraft and the spectacular hence “poor theatre” . for Grotowski there is no need putting much energy in our art. He sees the role of theatre as to learn what our existence, organism and our personal unrepeatable experience have to give us.

The “poor theatre” has a strong bias towards what Grotowski calls “para theatre and active culture”. This empahisised more on collective participation of actor and spectators in an elementary and simple way. Grotowski’s production and simple way. Grotowski’s production of 1968. Apocalypses um figures confirms with the above aspect. It had no text and had limited action and speech, when it did have a text later they were varied passages form the bible, Dostoyevsky, T.S. Eliot and Simone Neil. This automatically sets Grotowski on a different plane with Stanislavsky’s system where given circumstances, the magic of and feeling for truth are essential component and greatly depend on the presence of a text.

One might further argue that Grotowski’s techniques is an attack on methods of emotional recall and the realistic theatre. To this effect he argues that, art is not a state of the soul, that is, an extraordinary, unpredictable moment of inspiration, nor is it a state of man (a possession or social function). It is a revolution, am uplifting from darkness to blaze of light. This aspect seems to be contradictory to the psycho-technique where art is not only coming from the state of the mind but ah also a strong touch of the soul (feeling for truth). Where Stanislavsky is concerned with realism, Grotowski argues that actors have to transcend from stereotypes and standards of judgement often referred to as realism.

Unlike the psycho-technique that places more emphasis on the actor’s psychology that has to be induced by a conscious technique. Grotowski says that everything has to be allowed to do what it naturally does. This was the process becomes spiritual and personal which focuses more on the physical and empirical hence “Laboratory theatre”. Braun (1982) argues that, Grotowski’s approach was not to instruct but to utter an opening of “shared r double birth”. Actors have to be born or appear as “martyrs burnt alive, still signaling form their stakes”.

The above aspect of Grotowski’s principles highlights on the concretization of the process of transforming an actor as in Stanislavsky’s emphasis on minute details. It can be argued that there is no contradiction between Stanislavsky’s inner technique and Grotowski’s anticipation of the role by signs. In fact Grotowski himself argues that
one must give oneself totally, in one’s deepest intimacy, in
confidence, as when one gives oneself in love. (1968 p 38).

Furthermore, the two theories are a conscious technique aimed at transcending or descending an actor into a character. For Stanislavsky, however, the endeavour becomes too extreme at times. For instance, he had to go to Venice before producing Othello. He had to search museums for antique objects and costumers in order to reproduce Othello of Shakespeare’s character. He even went on to inspect a moor’s body anatomy. Grotowski’s concepts seek to revive a ritualistic or priest like role of an actor which Styan (1981) has seen as return to Jung’s collective unconscious”. His theatre had symbols elements for instance, in performing Kordian (19620 by Slowacki, the action takes place in a mental hospital with mentally defective patience scattered among the spectator, so that everyone is treated like an imitate of the same asylum.

In a nutshell, one might conclude that the two theorists are complementary in the sense that one emphasizes on the actor’s psychology while the other is concerned with physiology. These two aspects make up on actor as in his mind and body as some kind of creation of a character. However, the extend to which one denotes their differences is subject to personal criticism.








BIBLIOGRAPHY

1. Archer, W (196) Playmaking – A manual of Craftsmanship. Dover
Publications, New York.
2. Braun, E. (1982) The Director and the State from Naturalism to
Grotowski. Methuen, London
3. Clark, B. H. (1965) European Theories of Drama (3rd Ed) Crown Publishers,
New York.
4. Darlington,. W. A. (1949) the Actor and his Audience, Phoenix House,
London.
5. Grotowski, J. (1968) Towards the Poor Theatre
6. Grotowski, J. (1968) “External Order, Internal Intimacy” in the Drama
Review (Vol. 14 No. 1
7. Lane, Y. (1989) The Psychology of the Actor, Sector and Warburg,
London
8. Schechmer, R. (1988) Performance Theory, Routledge, New York
9. Stanton,. S. (1996) Cambridge Paperback Guide to Theatre, C.U. Press,
London
10. Stanislavsky, C. (1980) An Actor Prepares, Methuen, London
11. Stanislavsky, C. (1950) Building a Character, Max Reinhardt, London
12. Stanislavsky, C (1948), My Life in Art (5th Ed) Godfrey Publisher, London
13. Styan, J. L. (1981) Modern Drama in Theory and Practise. (Vol. 2)
C.U. Press Cambridge
14. Valency, M. (1966) The Breaking String, Oxford University Press, London.


QUETSION
With reference to university of Zimbabwe department of Theatre Arts T.I.E. project discuss the effectiveness of theatre as a teaching tool vis-a-vis the conventional teaching method

Theatre in Education deals with problem posing aspects of the curriculum through drama and pseudo dramatic activities that create a participatory platform. Its power lies in its triangular nature where it involves the Threatre in Education troupe, the teacher and the students. Moreso it is varied and flexible as it ca involve performance of plays with discussion and debate, films, charts, posters and other aids which cannot be possible in the conventional system

T.I.E. has the potential to explore and be applied to problem pausing topics of the syllabus where the teacher might have failed to get the students understand. The Mt Pleasant 1988 project dealt with Geography topic on migration. It was the T.I.E. troupe’s task to find simpler terms of helping the students understand he issue of migration. The sue of the Muzorewa houses in Mbare or the analogy of clean and dirt shorts of the surf advert helped the students understand the concept of immigration and discrimination respectively. This was a form of drawing form the known to the known. The issue of migration can be alien to the student but when something to their proximity it brought out in the situation they can draw parallel then understand.

Unlike in the conventional teaching method where the teacher is the superior in a class and students as interiors, T.I.E> takes students as subjects in their learning processes. In the 1988 Mount Pleasant projects student participated in the improvised play on a history of a family living in the Muzorewa houses form the dislocation because of war to their moving to Harare. This way students had a chance to actively participate in the solution finding process hence they do not only know answers as in class, but are effective partners incoming up with the answers.

The conventional classroom setting promotes passiveness and a docile student whose potential to communicate is barred by fear of the teacher or general lack of courage. In the 2000 Mazowe project as well as other projects there is involvement if song and dance which is meant to remove inhabitants that can bar communication. This would either be followed students getting into groups to discuss certain issues or make brief researchers. In such ways T.I.E. promotes group work and communication among student without limitations.

T.I.E. take students as subjects in the learning process and they also have a mandate to take a critically objective view of what they experience. In the 2001 National Education College project on Shona Registers the topic did not exist as an abstract theory but part of the students experiences. This is quite unlike the conventional teaching method where student are mere objects whose minds are not free to think but be fed with information. In a class situation a student delegates power to the teacher to think of him which creates a docile students who does not have a say on the proceedings of action in class.

As formerly stated, T.I.E. is triangular with all the three parties’ participation a necessary complement in the learning process. There are no barriers between the troupe and the students, infact in the 1988 Mt Pleasant Project students were part of the performance. Students had a chance to go around and tale to the Mbare Council officials and resident hence getting the information they would use in their performance on the proposed demolishing of the houses. In the conventional system, there is only a teacher and the library which cannot be comfortable enough for students to simulate information. Even if they get the information it is too theoretical and at times difficult to understand. The historical issue of the scramble for Africa was so abstract to the Mazowe students up until it has given explanation in present terms of the “Hondo yeminda”.

Theatre’s role is to invoke intellect and feelings as they are crucial in development of perception and understanding. According to Boal (1979), the language of theatre can help people think not passively but in action. T.I.E. changes the learning environment from that of a teacher distributing notes and theories to that of students thinking and acting. Moreso it can be open enough to accommodate all levels of learning. The 1988 project on migration evolved all forms while in 1994 it was conducted to primary school pupils at Cambridge.

Freire (1972) notes that teachers and students co-intent on reality, are both subjects not only in the task of unveiling that reality, but in the task of recreating knowledge. This is achieved through common reflection and action (praxis) where students discover themselves as knowledge’s paramount recreators. In the 2001 Christ Ministries project on a Literature Setbooh Nervous Conditions, students became part of the novel’s experience as it was adapted for acting on stage. In such a way the T.I.E. troupe helped create students’ active response to their experience not as developed by a teacher in class. A teacher tells students what their problems are and how to solve them. This is a form of oppression of the students’ ability to see, analyse and develop solutions to their own problems.

However, T.I.E.’s roles has some limitations which need to be left into consideration. One striking one’s that its preparation takes time. In the experience of Zimbabwe, the T.I.E. troupe has to contact the school, do teachers meeting, actor’s research the n the activity. This is in itself time consuming and strenuous yet it would want to tackle only one topic or issue. As an example the adaptation of nervous Conditions for the stage took time yet it was not the only set book on the curriculum.

Moreso, the r=presence of the T.I.E. troupe cannot necessarily help inhibit fear of the teacher from the students. If students can be frightened by a teacher who is always with them what more of a strange T.I.E. troupe.

Conclusively, one might argue that despite some limitations which T.I.E. can face it is an essential and effective reading method. One has to understand that it is not a day off event that can be here today and be gone tomorrow. Instead it is strong in its collective approach where teachers, students and the T.I.E. troupe work together in devising a lesson hence students have a share in the problem solving process.






UNIVERSITY OF ZIMBABWE PROJECT REFERENCE

1. 1988 Mount Pleasant High School Report
2. 1994 Groombridge Primary School Report
3. 2000 Mazowe High School Report
4. 2001 National Education College
5. 2001 Christ Ministries


















BIBLIOGRAPHY

1. Boal, A. (1985) Theatre of the Oppressed, Theatre Communication
Group, New York.
2. Chitambire, K. A. (2001) Critical Assessment of the Role of the Theatre in
Education in Zimbabwean Schools. University of Zimbabwe
3. Dhlamini, E. (1994) Children’s Theatre in Zimbabwe. An Analysis of its
Development in the Post Independence Era 1980 – Present Day. University of Zimbabwe
4. Freire, P. (1970) Pedagogy of the Oppressed. Herder and Herder,
New York.
5. Hornbrook, D. (1989) Education and Dramatic Art, Blackwell Education,
England.
6. Jackson, T. (ed) (1997) Learning Through Drama, Heinman Education Books,
London









Television is an integration of print, vocals, and pictures. Such qualities of the television gave it a greater advantage over radio which is only a voice based media. On the other way the radio has been credited for its aesthetic features which over the television pro-technical nature which distance the audience.

The television has been overwhelming commended for its amalgamated form in conveying information. This implies that the television does not only show images but it includes dialogue and some writing. Through such means the television has the ability to appeal to a wide spectrum of audience, for instance, the deaf, dumb or even the blind each can get a slice of information Pumell (1979) notes that the television’s combined nature makes a direct appeal to viewer’s senses and emotions, p248. It creates an integrity which is more than any other form of communication. The above quality has been rivaled by the claim that for radio, the lack of picture leaves a gap that has to be filled by the listener’s imagination (Manaco 1981).

Pieter Fourie (1988) has singled out the impact of electronic images in reference to reality. He argues that they can be experienced as real since they have the potential to portray, observe and express meaning. There is an underlying pictorial communication in images which mere words or dialogue cannot achieve. This fact has supported by Frredrich stifling 91978) who states that over the television measuring can be enhanced through gestures, shadows, colour, shape or any other physiological attributes of images being shown. It is fairly convincing to watch a drama over the television rather than listen it over the radio. Radio communication is fairly based on sound which can be a times vague or ambiguous for a listener to comprehend hence there is no communication.

The potential of television in conveying information can be denoted from Roman Jacobson’s six elements of pictorial message. He states that they are referential, phatic, expressive, conative poetic and metalinguistic. This means that they expose the them under communication such as people, and portray not only their physical appearance but the subject matter of the discussion. Moreso pictorial message have the power to persuade the recipient to share the communicator’s point of view and get engrossed in the images.

Such attributes of the television have resulted in viewers identifying themselves with television personalities (Radway 1984). One would like to identify with Seagul because of his invincible nature or with Lil Kim for her apparent nudity and beauty. Such forces help in character building and cultural views which may be negative. Exposing viewers to certain norms be it dressing, behaviour or beliefs can make them imitate what they see.

As a result the impact of pictorial message in communication can be on the negative. As a form of media television has the potential to create a certain behavioural pattern which can be readily apprehended by viewers as civilization. Concerning the negative impact of television Radway 91984), has questioned the pleasure which married women get from romantic films and the extend to which they identify with independent heroines. In line with the above Anderson 91987) asserts that meaning construction reaches beyond moment of reception which may leave room for negative formulations.

There is also a technological; gap which separates the viewers from the actual act that is casted on these screens. This implies that the television involves a lot of production techniques from the initial script of the final edited piece. Lack of expertise in information handling can result in clumsy products. Moreover the attempts to emulate real life both in dialogue and presentation of spaces shown in dramas or movies have ended up in exaggeration which can be of negative impact to recipients.

In contrast to the above, the radio has been cherished for its features which do not alienate viewers from it. Programmes over the radio are lively and more human. They create an interactive environment as they at times involve phone in sessions and through the ever present voice of the disc jockey. Apart from this the radio has features that affect the senses feeling and moods.

Listening to a song or talkshow over the radio creates an aural atmosphere which in turn brings moods. Manaco (1981) has credited the radio with a psychological ‘stroking effect which makes the listener want it’s company.

Moreso the radio has been credited with some mechanical advantages which makes it an efficient means of information transfer. Radio is cheaper to access and operate than the television. One cam buy a small portable radio which can be operational with batteries for instance in rural Zimbabwe. Television kind of a “luxury” due to its high prices both in buying and tax payment. This man that it can be owned by a few who have enough financial backup.

In a nutshell one can argue that despite some mechanical disadvantages of the television it has a greater advantage over the radio. Its integrated nature which involves images, dialogue and writing it has the ability to reach recipients at different levels. This overshadows the radio’s limited sound effect.


















BIBLIOGRAPHY

1. Anderson, J. A. (1987), Commentary on qualitative research and mediated communication in the family in Lindolf, T. R. (ed) Natural Audiences Qualitative Research of media Uses and effects; Norwood, Ablex
2. Fourie, P. J. (1988) Aspects of Film and Television Communication, Juta & Company, Caper Town.
3. Monaco, J. (1981) How to Read a Film Media, Oxford University Press, New York.
4. Radway, J. (1984 ) Reading the Romance” Women Particularly and Popular Literature,. University of North California, Chapel Hill.
5. Stiffling, F. E. (1987)
6. Tulloch, J. (1990) Television Drama. Routledge, London













QUESTION
With aid of specific examples discuss the function of dialogue in classical drama

Dialogue can be dined as an artificial, highly economical and symbolic intercommunication of actions between characters in which each forces his needs and wants over the other. In a way it can be recognised as a basic element of tension and conflict in the world of the play. Classical dialogue served as the primary vehicle of dramatic action. Although it presently exists in written form, it was primarily intended to be heard.

Besides, it being the propagator of dramatic action, classical dialogue serves a great deal in communicating detail on occasion and situation. In the absence of elaborate stage directions as in many classical plays, dialogue is the only source of given circumstances. The choice of the conversations is dictated by who they are and where they are. In Oedipus the King, different characters are given a certain set of attributes mainly by the way they converse with others? Being the King, Oedipus is given an elevated verse which in a way distinguished him from the pastoral language of the shepherds.

In a more significant way, classical dialogue uses verse as a heightened, more compact, exalting language. It is meant to convey intense feelings and high actions. Its effects is as powerful as that of body movement as it conveys intensive inner feelings at the highest pitch. Moreso it achieves the power of direct contact with the audience (Hodge, F. and McLain, M. 2005).

Shakespeare achieves the above impact by the use of soliloquy to express character(s) thoughts and inner feelings. The audience is in a way taken into the actor(s) mind to hear its contents. In hamlet for instance, the audience is taken into a strong argument meant to justify the revenge and present the means of revenge by Hamlet through one of his powerful soliloquies (Act 4, Sc iv). He places himself I contract with his kinsman and fortinbras, the warrior in a way which makes not only him but the audience find an example by which to live. Besides being void of action, the soliloquy culminates in the play’s climax as Hamlet resorts to action as he says
O’ from this time forth, My thoughts be bloody, or
be nothing worth (Act 4j Sc iv)

similarly, in Oedipus the King dialogue is used as the basis of action. From the point when Oedipus addresses the gathering of citizens and their priest dialogue sustains him only through the investigation but also as a tragic being who has to be sustained to the end. Oedipus’ struggle becomes self motivate in a way which Cohen (200) has interpreted as a solution to the dramaturgical problem – how to keep the protagonist on stage (pg 84). He argues that
given insuperable circumstances, why would not the
reasonable protagonist walk away? (2000 : 84)
yet with the action created by the dialogue between Oedipus and other characters he is bound to remain on stage pursuing his own fate unwittingly. Dialogue thus becomes a solution to a structural problem and ploy justification.

Through a series of responses to each other characters mould a continuing cycle of responses thus creating certain structures and relationships as in life despite the elaborate choice of words and refines lines in Oedipus the King dialogue facilitates the gradual build up of tension and discovery as the audience face Oedipus challenging, taunting and interrogating other characters who inturn help him partake his own disgrace. Important to note is the fact that, the build up to discovery is not as easy and straight forward, it is riddled with obstacles. In some instances information is presented in inferences. Jocasta, for instance endeavours to direct Oedious attention yet unknowingly raising new suspicious. In trying to prove Teiresious a liar, Jocasta refers to some important information on the murder which inturn make Dedipus insist on his quest. This very pattern in dialogue is followed until the climax .

Dialogue can be regarded as functioning as inner language of the play world. The language and choice of words become connotative rather than denotative. Since characters live in their own world, they talk with each other rather than at each other. In a way their exchange is subjective and is governed or express their environment. In its exposition, Hamlet makes use of an exchange between two guards on the castle ramparts to establish their environment. They express their nervousness and fewer through dialogue. Through their exchange the audience got a feeling of obscurity, oral confusion and evil deeds which infact embody the scope of the play-= character’s speeches thus help define their environment thought and emotions.

Classical dialogue as in Oedipus the King is contrived and arranged in a way which creates irony and suspense so as to sustain the audience emotional and philosophical engagement. The opening lines for instance;
What is it, children, sons of the ancients house of Gadmus?
Why do you sit as supplants crowned with laurel branches?
What is the meaning of the incenses which fills the city?
The pleas to end pain?
The cries of sorrow?

Create a balance between the open ended questions and the last two rhetoric which not only help expose the situation but also set the suspense which keeps the audience engaged as they go through the plot with the protagonists and try to give answers.

As Oedipus engages in five consultative exchanges into the death of Laius he and the audience are taken through some giant puzzle. However this is done through some sense of dramatic irony and complications achieved through effective manipulation of dialogue which makes it not so easy to understand the protagonist. The protagonists’ unsuspecting nature is thus consolidated in a way which makes him rather pathetic and readily inviting the audience’s sympathy and pity as a tragic hero. Oedipus conversation with Teiresias (the all knowing seer) pomp and “misplaced rage” it becomes so ironic when one equates it to the ultimate outcome to the scenario.

Significantly classical dialogue provided the audience or the reader with a moral perspective from which to view the dramatic action. The chorus served as commentator of the action inserting ethical comments of the play for the audience. In some instances the chorus would engage in an exchange with the protagonist. In Oedipus the King, the chorus says at the end,
Count no man happy, unit he has reached the limits of
his life without pain.

This offers the audience with the general tragic perception that man has to leave yet through pain and suffering. Moreso, the audience is given a meaning to the pain and paradox of our humanity in a way which prepares them for the confrontation with own fate.

In conclusion, one can argue that, classical dialogue is diverse in terms of function. Beside being the lunch pin of dramatic action it helps convey the given circumstances, character in as much as it offers the reader with meaning and the moral judgement of the play.














REFERENCES

1. Brown, R. J. (1997) What is Threatre? Introduction and Exploration. Focal
Press, Boston
2. Barranger, M. S. (1995) Theatre: A Way of Seeing (ed) 4th Edition, wadsworth
Publishing Company, Belmont
3. Cohen, R. (2000) Theatre (5th Edition), Mayfield Publishing Company,
California
4. Halten, W. T. (1987) Orientation to the Theatre (4th Edition) Prentice Hall
International, London
5. Hodge, F & McLain, M. (2005) Play Directing: Analysis Communication and
Style (6th Edition) Pears on Education Inc, Boston














QUETSION
“Theatre is a weapon. A very efficient weapon for this reason,. One must fight for it, For this reason the ruling classes strive to take permanently hold of the theatre and utilize it as a tool for domination. In so doing, they change the very essence of what theatre is. But the theatre can also be a weapon of liberation”. Discuss this statement with specific reference to the ideas if August to

In the beginning theatre was the dithyramb song; free people singing in open air (Boal 1979). This gave it the feats out look where the chorus and the mass were real protagonist. When Thespis “invented” the protagonist he immediately “aristicratised” the theatre. The protagonist – chorus dialogue become a replica of aristocrat – people dialogue. In a way the ruling classes subjects theatre into their possession and built dividing walls now called theatres and divided the actors and spectators as well as the protagonists and the masses. Theatre can be a liberating tool that involved collectivism where audience and actors co-operate in problem exploration, solution finding and implementation.

As an introduction to Machiavelli’s Mandrogola (1962) a comedy, Boal wrote theatre like any art has power to transit certain kinds of knowledge. The knowledge can be subjective or objective, individual or social, particular or general, abstract or concrete, super or infrastructural. This implies that it can be strongly used as an oppressant to a society for instance theatre due to its great power to conceive and closeness to the society. Throughout history theatre has been used as a mean of controlling the mob by the aristocrat.

The tragic hero in Aristotle’s coercive system of tragedy, for instance appeared at a time when the state wanted to utilize theatre for the political purpose of coercion of the people. Interesting enough is the aspect that the state directly or through wealthy patrons sponsored theatre productions and in any way would not allow production that can counter to its policies and interest. Up to this day the coercive system is a powerful weapon of intimidation, it strives to purge us of all our aggressive tenderness and our revolutionary spirits.

Romanesque art of the middle ages strived to establish an art where feudal lords were equal to divinity. Jesus was depicted as if he was a nobleman and a nobleman as if he were Jesus. Even in scenes of physical suffering, Jesus saints and martyr’s showed no sign of pain in their faces. During this period, symbol and sign characters were born, these represented virtue, vice and human attributes. Such plays as Everyman belong to this period, they sought to create a passive audience who inturn were a society that would not challenge the system.

The essence of the poetics of the oppressed is therefore stimulate a spectator to transform his society, to engage into evolutionary action. Central to Boal’s work is the conviction that human behaviour and institutions are formed rough social activity and can therefore be changed. Audiences are seen as potential agents of change hence they should be active participants in their own learning as they should be in change.

Through the poetics of the oppressed the audience could be actively engaged a subjects in the learning processes, yet they were also challenged to take a critically objective view of their experience. What the audience learn is not an abstract existence separate from their experience. It has a bearing on their political, social and economic future. Audience has to be transformers of the dramatic action.

This is grossly separate from Aristotle’s poetics where the spectator delegates power to the dramatic character to think for him. This created a docile spectator who has no saying on the proceedings of action on the stage. It created a great gulf between the spectator’s experience and the dramatic action which is analogous to the difference between the supreme and the inferior

Boal’s poetics is more concerned with action itself,. This can be viewed on three angles. Firstly the audience assumes the protagonist’s role, changes the action and invents solutions and discuss plans for change. Secondary the action in theatre becomes a rehearsal for a revolution. The liberated spectator becomes an instrument for the implementation of action. Finally theatre’s role is to invoke people’s feelings and intellect as they are crucial in development of perception and understanding. For Boal people not to think passively but in motion. To sum up this he argues “Theatre is change and not simple presentation of what at exists. It is becoming and not being”. (1979 : 28()

Freire (1972) note that teachers and students for instance, seek reality, are both subjects, not only in revealing reality but in the task of reconstructing the knowledge. This is achieved through common reflection and action where they discover themselves as knowledge’s permanent recreators. The oppressed become part of the struggle for their own liberation. Liberation begins with an active response to one’s experience not as developed by teachers, actors or political leaders who tell others what their problems are and how to solve them. This aspect is dominant in “Aristocratic” theatre by pseudo-liberators who infact are oppressors.

In a bid to bring the audience into “spec-Actors” Boal has designed various forms of theatre. In the 1960’s, for instance, he suggested a way through which the audience would stop the play and suggest who should act what next. He called this forum Theatre which sought to generate an idea of social change.

For Boal theatre is not only performance but dialogue and an opportunity to act out social change,. The designed what he termed, “invisible theatre” which was theatre at people’s doorsteps. This way he wanted to get them involved n decision making in their communities. In this line he believed theatre is an art of looking a oneself. The concept can be regarded as an effective one as it breaks through the walls of the aristocratic idea of enclosed theatre as into open performances meant to change the audience into action. As evident in one of Boal’s projects in 1982 at an Austrian International Amateur Theatre Association (IATA) titled “A :and Fit for Heroes” which explored the relationship between experience thought and action. A role play on the 1926 British general strike gave school pupils a chance to represent different socio-economic groups. When they were later asked on the analysis of what had happened those who took part would say, “I did this … and the problem was solved. Otheres would say “No it’s not because this will happen”, up until appropriate solutions were discovered. Through this kind of theatre one might denote that pupils or the audience in general are equipped with a weapon whose power lies in action.

Conclusively one might argue that theatre as it was, is a weapon that can be used for oppression in as much as it can liberate. Liberation has to begin with the audience who are essential and equal partners in the law making process and other socio-economic issues. It makes audience decision makers where reason and action are critical. The audience is offered an insight into human existence or comments on the world which in actual fact is an idea to change the world.



















BIBLIOGRAPHY

1. Brechil, B.
2. Boal, A. (1998) Legislative Theatre, Routledge, London
3. Boal, A (1992) The Invisible Theatre, Routledge; London
4. Boal, A. (1979) Theatre of the Oppressed, Theatre Communication
Group, New York.
5. Freire, P. (1970) Pedagogy o f the Oppressed Herder and Herder, New York.
6. Willet, J. (ed) (19 ) Bretch on Theatre. Groove Press, New York.

what is Tambanuka?

I have been working on a social action project that focuses on using cultural performances to empower communities it highly borrows from Augusto Boal's Theatre of the Oppressed. I hope my visitors will find something exciting from the concept which has already started to be applied by a number of organisations around Zimbabwe.



TAMBANUKA : THEATRE FOR LIBERATION

INTRODUCTION
Tambanuka is a Shona word meaning “be free” or express you freedom. It is from the liberty and the freedom expressed by the term that a theatre process- which individuals form an opinion about their society, analyse and share their view point with the others derives its name Tambanuka. Is an animating process which builds people’s capacity to create performance through which they can analyse their situation, thereby developing a mind frame that necessitates change. Through the process the culture of silence, as in marginalized communities or the oppressed, is broken as individuals are presented with an opportunity to articulate a point of view as well as revealing one self in performance using improvisation, participants create situations, events and characters as in the real life thus enhancing comprehension. This weigh the submerged individuals are transformed into subjects or actors of their own development processes rather than objects (spectators). Tambanuka can be referred to as a process of reflection and action where mankind is a medium which they explore their own circumstances.

GOAL: Mobilize communities through a dialogic experience that necessitates a change of undesired circumstances


OBJECTIVES
To create a platform for the engagement of individuals of recreators of their own circumstances through theatre.
To assists communities in the identification and prioritization of community problems as well as proposition and implementation of solutions through participatory engagement.
Involve communities in developing communication tools that help them explore problems and implement solutions of their problems
Develop creative activities that can lead to discussion on social economic activities and political activities

RATIONALE

Tambanuka assets the role of theatre as a dynamic force which can be used in concretization, empowerment and transformation by class.
Central to this project is the use of theatre as a language and discourse accessible to any individuals as a tool in development processes. Using comprehensive or means (theatre action and dialogue), Tambanuka seek to enrich the peoples own forms of expression, adopt and strengthen the peoples points of view while taking its imides and relevant in a tradition and cultural contents and participates. The project borrows its conception from the normative approach to development where preoccupation is placed more on the basic need of the involve participants and its execution are meant to meet and address the needs as they stem from the heart or the participants. Through active involvement of the community theatre becomes not only a means but the goal as it mediates, development messages in a highly participatory environment.-where conventional methods communication has been mostly one way and almost dead, Tambanuka in campuses lively community engagements.

Tambanuka can be regarded as a practical cultural means of transferring knowledge and untangling shackles of oppression and ignorance. In this process, the audience is actively engaged as subjects in the leaning process while also challenged to take a critically the objective view of their experiences. Eventually the content of their leaning is not an abstract existence it has its bearing and social economic environment.

As a developmental tool Tambanuka functions as a form of research which can be used in discovering problems, rendering them in discussion and initiating a direct research for solutions. With regards to personal development, Tambanuka connive power to begin when gains the confidence and ability to analyze only social economic situation, articulate challenges, proposed possible actions for a change in a brooder political environment.

The basis of Tambanuka is deeply found in the use of action and theatre where;
1. the audience assumes the protagonist’s wrong changes the action and invents solutions and discuss plans for change
2. the action becomes a reseal for revolution the liberated spectator becomes an instrument for the implementation of reaction
3. theatre ‘s role is to involve people’s feelings and intellect as they are crucial in development of perception

Significantly in Tambanuka both actors and audience are taken through a process of concretization, empowerment and transformation of theatrical means whose language, action, can help people not think not passively but in motion. “Theatre is change and not simple presentation of what


METHODOLOGY
The participants are taken through a four stage process which can be broken down into a number of workshops and activities. Significant to the process are four which are;

self consciousness
Participants are taken through a series of theatre games and activities meant to awaken a sense of self knowledge in terms of physical structural limitations and possibilities. At this level participants are made to experience their limitations in control of their bodies

Assertion and expression through a series of games mostly drawn from cultural practices like children’s plays and animal emergary, participants realize and breakers from the social cultural inhibitions to their expressions.

3 language of participation
While the two areas above emphasis mostly on the individual, this stage recognize the use of dialogue and action (theatre) as a participatory language. This stage can be divided into three parts;
i. Shared intervention- both actors and audience are involved in the process of story making. The spectators write/or tell a story while the actors act on stage simultaneously
ii. Words of silence this part emphasis on practical intervention where a participant create still images (sculptures) using the bodies of participants to represent certain forces, issues, ideas etc about individuals or the community. The images (sculptures) have to represent three related stages in transformation which are the real image (what is existing), ideal image (what is desired), and the transitional image (process of change) which is used to join the previous stages together. This uses no word, dialogue and discussion is through action in silence.
iii. Direct intervention – this is the elimination of the two other parts in the language of participation and the highest level of democratic participation. The audience has the liberty to stop the action, replace the protagonist (main actor), and resume the action towards a desirable end. At this level, both audience and actors are engaged in a process of problem exploration and a search for practical solutions o the prevailing situation
Theatre as a process of discovering and exchange the participants use theatre in a continued quest for the truth, reality and to challenge status quo. Ta this stage theatre is used as a dynamic tool in the preparation for revolution while creating a strong tool for advocacy and freedom of expression. Both actors an d spectators shift the course of action towards an unknown end. It can be expressed in various forms

i. newspaper theatre – newspaper articles are transformed into different forms at times altering , complimenting, improvising, reinforcing, their content in a way that seeks to exposé certain weaknesses, highlight critical facts and creating a level of consciousness on important issues and events.
ii. Invisible theatre – the ultimate aim of Tambanuka which is to take theatre away from the mere division between actors and spectators into an actual event, action – revolution / change. At this level the theatre phenomenon can take place anywhere anyhow. A group of organized actors go into a target public place introduce a thematic issue to the people (who do not know the former are acting). The thematic issue is subconsciously explored to its natural ending e.g the issue of price hiking can be introduced in a supermarket just before the teller, the other actors help shape the debate /dialogue /discussion that may arise through timely interventions. However this can be sensitive in such environment as Zimbabwe, with its P.O.S.A

SUSTAINABILITY
Tambanuka is deeply founded from the concept of participatory development where individuals are critical in the exploration of their own problems and proposal and implementation of solutions. Primarily, participants are equipped with life skills such as teamwork, self esteem, active communication, respect etc.
These can be useful in individual development.
This way Tambanuka ensures internally driven sustainable structures which take the form of a behavior change ladder.
1) Knowledge of form and function of Tambanuka
2) Approval of its form and function in society
3) Intension to use it in a broader spectrum
4) Practice – the participants acquire the skills through Tambanuka and begin to apply them to explore issues of concern
5) Advocacy – individuals /groups become advocates for the use of the method by others. Participants experience and acknowledge the benefit of the use of theatre in critical analysis of issues and support the development of the project in other communities. Liberated individuals as a result of the Tambanuka process become critical in the empowerment and transformation of others through action. The cycle of change is then carried out by individuals who would have been liberated.

Monitoring and evaluation
The evaluation method in Tambanuka can be regarded as a built in system that can be drawn from a continuous assessment process which highlight on two strategic areas

1) Outcomes /probbcess indicators
Ø Issues raised through the inquiry process and the collective engagement of participants
Ø Other projects generated by the processes
2) Impact indicators
Ø Change in knowledge, attitude and acquisition and utilization of skills
Ø Long term results

- Influence institution in the use of Tambanuka by liberated individuals
- Liberation /consciousness awakening
- Participants’ recognition as transformers /recreators of their situation