The second Spider’s Work Play-shop was presented on 21 and 22 November at the HB Thom Theatre, Stellenbosch University. The playshop ran Friday from 17:00 to 20:00 and Saturday from 8:30 to 17:00..
Spider’s Work is an educational drama training programme that can teach actors to use their craft to help people deal with value conflicts and assist teachers or community workers to use drama as learning medium in their own conflict ridden contexts.
On the past weekend 6 professionals from different educational fields learned how to use story telling, role-play and improvisation to get young people talking about their values. There were 2 actors looking for ways to apply their art for helping young people gain a voice, a minister craving creative inspiration for communicating with his young congregation and a lecturer from the Education Department recently resigned looking for new ways to educate. There were also two participants from the previous workshop looking for more of what they got last time – specifically more analysis and theory on how this process utelizes the magic of mythic journeys and archetypal characters to get young people to reflect on who they are and how they fit into their world
A little more detail about the content of the ‘Play-shop’:
The difference between the main character of a story and the supporting characters, is that the main character undergoes personal growth. This growth follows a very particular pattern of events leading to the main character’s gradually becoming aware of his/her desires and values and how s/he fits into the world. Story tellers, writers and film makers know the pattern and use it cleverly to tell stories that can move you and make you aware of yourself and your relationships.
The Shamans of ancient tribes used the same pattern to tell myths and create rituals to keep their tribesmen on the path to spiritual maturity. Even the story of Jesus Christ follows the same pattern. More interestingly, any personal growth ordinary people undergo in real life happens according to the same pattern. In this way stories mirror life and life mirrors stories.
More so than the previous round, the playshop explained the ‘drama recipes’ used to form this pattern. Particpants were deeply moved by the pttential of these recipes and their use in educational contexts.
The playshop programme:
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Friday |
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17:00-17:30 |
Welcome and introduction |
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17:30-20:00 |
Drama Process |
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Saturday |
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8:30-10:45 |
1. Values and re-evaluation |
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2. Recipe 1: A fictional setting wherein value conflict can play out |
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10:45-11:00 |
Tea |
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11:00-13:00 3. |
Recipe 2: Characters that can change and grow |
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4. Recipe 3: character relationships that can provide value conflict |
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13:00-13:45 |
Lunch |
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13:45-15:45 5 |
Building belief |
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6. Recipe 4: Plotline that promote value awareness and personal growth |
The plan after the playshop:
After the playshop, participants agreed on the following:
1. Post their evaluation of the workshop on the Spider’s Work Blog.
2. Plan one intervention with a group of their choice using the techniques and approaches taught at the Spider’s Work Playshop.
3. Implement the plan.
4. Evaluate the implementation, adapt the plan and try it again.
5. Post the plan, evaluation, adaptation and report back of the second try on the Spider’s Work Blog as a means of sharing their journey with others, especially the members of their own training group.
Post all your comments about this playshop here by clicking on the title of this page and filling in the comment box.
November 27, 2008 at 6:40 am |
Die Spinnewerk Speelwinkel
10:44, Maandag, 24 Nov, 2008
Ons was ses mense in die groepie, sewe saam met die fasiliteerder en meesterbrein agter die Spinnewerk ‘Playshop’. Ons het gaan leer hoe om hierdie tegniek in die opvoedkundige drama te implementeer. Maar die uiteindelike doel en resultaat is veelsydig – dit is nie net voordelig vir dramastudente nie. Dit kan in die breë samelewing letterlik vir enigiemand deure na ander wêrelde oopmaak en van onskatbare waarde wees in die hantering van waardekonflikke. Daar was ‘n dominee, ‘n dosent in die Opvoedkunde, ‘n industriële Sielkundige, ‘n gemeenskapswerker en twee aktrises in die groep.
Daar was ‘n spasie wat op die oog af soos ‘n deurmekaar speelgroep se klaskamer sou kon lyk. Toe moet ons in die spasie rondstap en vir mekaar sê wat ons sien – die mense, die landskap, alles. Aan die begin was dit nogal senutergend en jy is gedwing om uit jou gemaksone te stap. Nou en dan kom die ego en sê vir jou hoe simpel jy is, dis mos nou gek! Maar later gee jy nie meer om oor wat enigiemand dink nie – in die spasie is jy immers veilig en daar word nie geoordeel nie – dit is ‘n organiese skeppingsproses en hoe vroeër jy van ego-gedrewe vooroordele ontslae kan raak, hoe beter.
In die vertrek het ek byvoorbeeld gesien dat ‘n gemeenskap hier moes wegvlug, met ‘n bootjie het ek gedink, omdat daar die een of ander gevaar was. Ander het gesien daar is ‘n groot TV wat soos ‘n Big Brother kyk wat die gemeenskap doen en so die gemeenskap beheer.
Toe is dit karakters kies. Jy soek ‘n item wat jou aan ‘n karakter laat dink en jy kom sit en praat oor hom/haar. Ek het ‘n stukkie blink goue lap opgetel en besluit ek is ‘n ballerina. Hierdie was eens my tutu. Voor ek kon dink hoe absurd dit is, toe het my ballerina ‘n naam, Mercia, sy is twaalf jaar oud en sy het vergeet hoe om te dans want “hulle” het haar kom ontvoer en ingespuit met ‘n stof wat haar van haar vorige, kleurvolle lewe laat vergeet het. Maar… sy het nie alles vergeet nie en sy weet daar is meer wat die lewe bied as waaraan sy in hierdie vervelige, geroetineerde bestaan gewoond is. Dit alles spring toe sommer net so woeps in my kop in! (En hier moet ek byvoeg dat improvisasie nog nooit een van my sterk punte was nie.) Mercia gaan met die ander karakters om en vinnig is daar probleme (konflik, net soos in die regte lewe): die televisie, wat almal in die gemeenskap se doen en late met ‘n alomteenwoordige ysterhand regeer, moet jaarliks afgeskakel word vir herstelwerk. Dan, om te voorkom dat enige van die “spesiale” mense onthou waar hulle vandaan kom, moet hulle ‘n konsert opvoer soos hulle elke jaar doen wat die breinspoeling herhaal en oudergewoonte skakel die TV dan weer aan en almal gaan “nonrmaalweg” voort. Dis baie vervelig vir Mercia, maar van die karakters geniet dit daar, omdat hulle niks hoef te waag nie en van niks beter weet nie. Die indoktrinasie is al gevorderd. Maar Mercia is verveeld en sy is konstant besig om skelmpies haar ballet te oefen. Skelm, want as juffrou haar vang sal “hulle” haar kom haal en êrens toesluit in ‘n donker gat.
Maar nie vandag nie. Vandag, danksy Fluitjie se mondfluitjie, onthou Mercia skielik haar danspassies en sy begin dans. Monique bespeel haar fluit en Fluitjie hou aan blaas op sy mondfluitjie. Skielik weet almal hoe om hulle kuns te beoefen. Ongelukkig kom “hulle” vinnig agter dat alles nie pluis is nie en verskyn op die toneel om Fluitjie, wat die chaos begin het, “weg te neem”. Gert wat die televisie kom diens neem standpunt in en oorval die vyand wat sy vriende probeer in toom hou en Mercia vergeet om te ballet en sy gaan help ook. Sy sê vir Fluitjie (inner child/pret/onskuld) om weg te hardloop saam met Gert (stabliliteit, veiligheid), wat in ‘n ver land in ‘n boomhuis bly, en sy hardloop terug om vir Io, haar stom vriend en “ontmande” vaderfiguur (animus, heler, vryheid) te red. Sy gaan haal ook vir Monique (kunstenaar/emosie), wat histeries aan die skree is. Sy los vir juffrou agter (orde en rigiditeit) en sy offer haar droom om te dans op om haar vriende na veiligheid te neem.
Nou ja ek kan dink dit klink omtrent soos ‘n mal spul, maar ek probeer my bes. Ek wil graag hierdie gedagtes neerskryf voordat hulle by my kop uitvlieg, so ek hoop dat dié van julle wat belangstel kan volg wat ek hier babbel.
Nadat die klimaks uitgespeel is (onthou, niks van hierdie gebeure is vooraf beplan nie. Ons het op karakters en ‘n konfliksituasie besluit, maar geen oplossing of moontlike aksies deur enige van die karakters is beplan nie) moes ons gaan prentjies teken. ‘n Voor en ‘n Na. Myne is nou nie hier nie, anders sou ek dit graag met julle deel. My VOOR was ‘n tronk, met bruin kryt geteken. Daar was tralies en die groot TV en natuurlik Mercia se stukkie tutu. My NA was ‘n boomhuis met diere in die groen berge en ‘n gesinsprentjie van Io en Mercia se ander vriende. Totale teenoorgesteldes. Natuurlik balletskoene ook, ordentlikes.
Die volgende stap is om te gaan kyk hoe hierdie karakter se impromptu optrede midde-in die krisis op jou eie lewe van toepassing is. Die eerste gedagte is natuurlik dat ek weghardloop of ontnap uit my roetinebestaan en gaan soek na vryheid en ‘n plek waar ek my kan uitdruk. Maar dis selfs cooler as dit! Die vriende wat ek saam met my vat is my “inner child”, my kunstenaar en my beskermer. En ek neem hulle saam na ‘n “plek” wat vir my veiligheid en sekuriteit verpersoonlik. Natuurlik is elkeen se paadjie vir homself baie betekenisvol en vir ander mag dit soos blote pscho-babble klink, maar op daardie oomblik, toe ek dit besef, het my hele lyf in hoendervleis uitgeslaan en ek het geweet dit is wat my onbewuste vir my wou sê. Moenie bang wees om ter wille van jou drome te waag nie, maar moet ook nie blindelings en sonder jou “allies” in ‘n ding inspring nie. Jy het alreeds al die “tools” wat jy nodig het, die trick is net om hulle in te span om vir jou te werk. Dit is tragies dat ons gewoonlik te besig is met die niksbeduidende gejaag na wind om te hoor wat ons “gut” vir ons probeer sê en ek vir een gaan ophou om my stemmetjie te ignoreer, want sy weet wat vir my goed is.
Dalk is my plasie nie so ‘n ver droom nie.
Ai, en nou het ek nog nie eers begin om te vertel van die waarde van hierdie tegniek in die opheffing van agtergeblewe psiges nie. Maar julle kan seker dink. Volgende keer, ek moet nog self alles uitfigure.
November 30, 2008 at 4:24 pm |
1. What did you enjoy most during the process?
Developing my character and getting to know him better.
2. Why?
As he developed I saw myself in him more and more. And in the end I could learn from him.
3. What did you enjoy least?
This part – evaluating and feedback.
4. Why?
I find it hard to put my thoughts down in writing… Or maybe I just don’t know what I think. I know it is important though and I need to practice this mussel, so it’s all good.
5. Did you learn anything about yourself that you never realised before? Explain.
Hmmm…. Don’t thinks so. I think I did rerealize things that I knew before.
6. If you answered ‘yes’ to Question 5, which part of the process helped you learn this?
All through the process I realized bits and peaces. But I think mostly during the last reflection time.
7. Was there something that you knew before, but which you see differently now? Explain.
No, don’t think so.
8. If you answered ‘yes’ to Question 7, which part of the process helped you learn this?
9. Did you learn something new about drama? Explain.
No
10. What part of the process taught you this?
11. If you did something like this again, what would you want to keep the same?
The balance between talking about the theory and playing it out was good. It was an improvement from the previous workshop.
12. What would you want to do differently?
I would like to do it over a longer time. Sometimes I felt we were rushed to get through the whole process in time.
13. What did you enjoy about the facilitator and her style?
She planned everything well, but was still open to adjust her plans as needed.
14. Are there some suggestions that you can make so that she can improve even further?
No
15. Any other comments?
I think the workshop can be valuable for anyone who wants to learn more about himself/herself. It is not only applicable to teenagers or people who want to teach about values to teenagers.
December 10, 2008 at 6:12 pm |
1. What did you enjoy most during the process?
Being creatively busy for a long(ish) stretch of time. Also, it was great working with relative strangers and feeling so safe in this environment – that was quite unexpected. The coolest was discovering what my unconscious was/is trying to tell me.
2. Why?
It is illuminating!
3. What did you enjoy least?
Hmm… Nothing, really. I guess it was tough at the beginning, letting go of the ego.
4. Why?
It’s always a little hard initially to step out of the trusty old comfort zone… Little bugger.
5. Did you learn anything about yourself that you never realised before? Explain.
Oh yes. I am a ballerina! Hehe, grappie.
There is a wealth of wisdom inside each of us and it’s on our side. All I have to do is embrace this power to work for me and my community.
I definitely hate sitting in an office and there must be something more meaningful for me to do.
6. If you answered ‘yes’ to Question 5, which part of the process helped you learn this?
The process as a whole obviously contributed to reaching that discovery, but the most enlightening part for me was sitting down with my notes on the character’s motivations and being hit on the head with the realisation that this was all me – even though on the exterior the character is very far removed from my own personality.
7. Was there something that you knew before, but which you see differently now? Explain.
Yes. Every now and then one realises how important it is to listen to your instinct, but we get lazy and shut the little voice up. This process reiterated the importance of trusting that voice to be your ally, with your best interests at heart.
I am at my happiest when I am creative.
Everyone has a right to be happy. We don’t always believe that. I think we don’t value ourselves enough. Everything boils down to love in the end, I’m sure.
8. If you answered ‘yes’ to Question 7, which part of the process helped you learn this?
My character yelled this out to me as we reached the climax of our Playshop.
9. Did you learn something new about drama? Explain.
Yes. Improvisation is not so hard if you let go. It’s nothing to be afraid of. Fear is the enemy!
10. What part of the process taught you this?
The whole spiel.
11. If you did something like this again, what would you want to keep the same?
Everything. This process is organically so astounding – every minute brings more growth. All of the components, in the order I experienced them, are pieces of a puzzle that cannot exist separately. They co-exist and work together to bring about all of the profound realisations I stumbled upon.
12. What would you want to do differently?
I would like to work like this for a longer period – I think there are even more awesome discoveries to be made.
13. What did you enjoy about the facilitator and her style?
She is natural and free. She made me feel safe and she is a very good listener.
14. Are there some suggestions that you can make so that she can improve even further?
Nah. Just don’t stop!
15. Any other comments?
Spanks Petro! Dis amazing wat jy doen en ek is bevoorreg om hieraan te kon deel hê.