By Sonja Arsham Kuftinec (auth.)
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Extra resources for Theatre, Facilitation, and Nation Formation in the Balkans and Middle East
In his study of The Radical in Performance (1992), Baz Kershaw praises the expressive excess of performance in contrast with the discursive limits of theatre. According to Kershaw, the commodification of theatre, of most theatre-in-a-theatrebuilding, limits its potential to provoke reflection and change. While I concur with Kershaw about the limitations of location, I argue for the relevance and effectiveness of theatre as a specific embodied representational practice generated for a witnessing audience.
After these projections, we took a break, intending to move on to another exercise that would build on the images. But the Serbs and Roma were distraught. ’ The Kosovo Serbs and Roma, who had both been under attack by Kosovar Albanian mobs only a few weeks previously, felt completely misunderstood. They felt that the others had not really seen them. So we returned to the image, and the youth now saw ‘protection’ as well as ‘exclusion’. The Albanians were, however, unable to see the same mixed dynamic in their own image.
Dictating practice rather than facilitating disorientation, he argues, would replicate an authoritative system that must be transformed. Days’s Afro-Brazilian inspired disorienting praxis resonates with two other Brazilians, Augusto Boal and Paulo Freire. Boal prefers the term ‘Joker’ or ‘difficultator’ to ‘facilitator’, implying a more active role in a group process. Rather than simply guiding activities, or operating as an expert with more knowledge than participants, the Boalian Joker functions as a provocateur.