By Jonathan Shailor, Julia Taylor, Judy Dworin, Brent Buell, Teya Sepinuck, Meade Palidofsky, Curt Tofteland, John McCabe-Juhnke, Jodi Jinks, Sharon Lajoie, Amy Dowling, Jean Trounstine, Laura Bates, Elizabeth Charlebois, Agnes Wilcox
"Performing New Lives" attracts jointly the most unique and leading edge courses in modern felony theatre. prime criminal theatre administrators and practitioners speak about the felony theatre event first-hand, and provide useful insights into its function, functionality, and implementation. a variety of legal theatre tasks are mentioned, from long-running, high-profile courses comparable to Curt Tofteland's "Shakespeare in the back of Bars" in LaGrange, Kentucky, to fledgling efforts like Jodi Jinks' "ArtsAloud" venture in Austin, Texas. The publication bargains specific insights into the various dimensions of the felony theatre event, together with: negotiating the principles and regulations of the legal surroundings; constructing belief, educating functionality abilities and coping with crises; development relationships and working with conflicts; and negotiating public performances and public perceptions. Excerpts of interviews with inmates, and a talk among practitioners within the ultimate bankruptcy, exhibit the influence that criminal theatre courses have at the performers themselves, in addition to viewers contributors, and the broader group. Exploring legal theatre strategies and concept with insights into the way it works in perform, and the way to copy it, this e-book is vital analyzing for drama therapists, theatre artists, and legal educators, in addition to lecturers.
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Additional info for Performing New Lives: Prison Theatre
Why, if you had a shell that protected you, did you stop and Macbeth didn’t? Stop doing the deeds? Right. Look at the consistency of your behavior: From the time of your first arrest, at the age of ten, you were in and out of juvenile institutions up to the age of 17. Yeah, I only spent one of those birthdays on the bricks. I was locked up for all the others. And look at your prison record: In the eight years before you did Shakespeare, you had eight class-A offences, a total of 19 serious charges, as many as five in one year.
For two hours, they kneel on the concrete floor, with shackles still on their legs, and communicate to each other through the opened cuffports in the steel doors. They begin by reading the creative work they have written that week and giving one another constructive feedback on their scripts. Inevitably, those readings spark discussion, “To Know My Deed” 35 and debate, about differing interpretations of key passages. Surely, it is the most absurd environment in which Shakespeare has ever been discussed, but the conversations are focused, engaged, often intense.
Costumes are brought in from the outside—many from university costume shops like the one at SUNY Purchase—and that is quite a process. Every item of clothing must be on a gate clearance. Each item is checked in and then checked out before and after every performance. But with the cooperation of the prison administration and the corrections officers, we have been able to costume everything from military officers to toga-clad Romans, from pirates to tuxedoed gentlemen. For the men, getting to put on a costume and for a few hours not looking like a prisoner is a huge event.