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Experiments with Politics, Theatre and Young People in the UK and Chile

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Experiments with Politics, Theatre and Young People in the UK and Chile Embodying Critical Engagement - Experiments with politics, theatre and young people in the UK and Chile Matthew David Elliott Submitted in accordance with the requirements for the degree of PhD (Practice-led) The University of Leeds School of English April 2019 ii The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. © 2019 The University of Leeds and Matthew David Elliott The right of Matthew David Elliott to be identified as Author of this work has been asserted by Matthew David Elliott in accordance with the Copyright, Designs and Patents Act 1988. iii Acknowledgements First and foremost, thank you to Jason and Kate Gatenby who sponsored this research. Their generosity and support enabled the development of my initial proposal into this research project. I would like to thank the young people who participated. Their energy, enthusiasm and curiosity underpinned the project. It was a pleasure and a privilege to learn alongside them. Thank you to Youth Focus North West for endorsing the ambitious nature of the Legislative Theatre Project. The educators at CIP San Joaquin were an inspiration to my practice. Their willingness to go above and beyond in difficult circumstances made the impossible, possible. To Cockburn School, especially Anna Piggott, the deepest gratitude for providing time and space to help explore untested ideas. Finally, a special thank you to Collective Encounters for having belief in my practice. A special thank you to Penelope Glass. Our brief encounter in 2008 has led to a long and fruitful working relationship and friendship. My experiences with Colectivo Sustento and Fenix e Ilusiones form the foundations of this research. Without these experiences and Penny’s guidance, I would be ignorant to the radical possibilities of theatre practice. My deepest gratitude to Professor Jane Plastow for instilling a belief in the validity of my research. I am indebted to Jane’s patience and support with my writing process and the learning experience it has entailed. Her guidance and supervision throughout this process has enabled me to envisage the potential of practice as research. To Paul Hembling, your friendship has been invaluable throughout the entirety of this process. To my partner, Tamsin Cook, your hope and resilience are always a source of inspiration. Your support has been instrumental in the completion of the thesis. To my brother, Steven, thank you for always taking the time to listen, it is a beautiful part of our siblingship. To my Grandad, your curiosity for the world has always been an inspiration and your encouragement for my learning led me to continued study. Finally to my mum, your advice, belief and support have enabled me to overcome the challenges the research process presented. There are not enough words to express my gratitude for your unconditional love and confidence in my ongoing journey. iv Dedication This thesis is dedicated to the memory of my Dad, David John Elliott (1951-2008). Whilst he will never know the impact he has had on my practice and politics, these words are as much his as they are mine. v Abstract This study is focused on three case studies, seeking to explore the possibilities for developing a critical, agonistic and politically aware theatre practice with young people. I begin by conducting research in to the political and historical contexts of the community theatre movement in the UK and Chile. I consider the development of neoliberalism in the UK and Chile and its negative effects on critically engaged theatre practices. The thesis also determines that youth theatre practice, in its historic and contemporary forms, has been dominated by a focus on theatre skills and aesthetics. Informed by Paulo Freire’s work on critical education and Chantal Mouffe’s political theory of agonism, I develop a critical youth theatre framework that questions the possibilities of practice engaging in political action. My contextual analysis and theoretical framework are explored by a comparative model, analysing two projects from the UK and one from Chile. The three practice as research case studies are; the use of Legislative Theatre practice with Collective Encounters Youth Theatre in collaboration with the Youth Parliament in Liverpool, UK; work in a juvenile detention centre using theatre games to support popular education programmes in Santiago, Chile; and a collaboration with Cockburn School to explore how theatre can support student voice initiatives in Leeds, UK. Video documentation of the Legislative Theatre performance (October 2016) and the performance of Future Routine at Cockburn School (July 2017) forms part of this practice-led submission. Video documentation was prohibited at the detention centre in Santiago, therefore in this case transcripts of interviews are appended to this thesis. I conclude that a critical agonistic theatre practice with young people can be realised. The development of allies, understanding mechanisms of change and issues of responsive practice were the main areas of learning. The study also demonstrates the challenges I experienced in conducting my case studies and reflects on the learning from these. Overall my findings show that, although it is fraught with challenges and obstacles, a critical agonistic theatre practice can develop political action with young people. vi Table of Contents Acknowledgements iii Dedication iv Abstract v Table of Contents vi Table of Images vii Practice Documentation Contents viii List of Appendices ix Chapter One - Context 1 Between Santiago and South Leeds 1 One ideology, Two Countries – Neoliberalism in the UK and Chile 6 Neoliberalism in Chile: 1973 – present day 8 Neoliberalism in the UK: 1979 – present day 11 Community Theatre in Chile: Dictatorship to Democracy 14 Community Theatre in the UK: Politicisation to Depoliticisation 21 Towards a Critical Youth Theatre 31 The Theoretical Framework: Towards a Critical and Agonistic Theatre 37 The Situated Researcher 45 Chapter Two – Action 48 Young People as Legislators – Legislative Theatre and Youth Parliament 48 We play as we mean to resist - Theatre games as political participation 67 Future Routine – Youth theatre practice and schooling 92 Chapter Three - Reflection 118 Processes of Change 120 Collaboration and allies 124 Responsive Practice 126 Conclusion 129 Bibliography 132 Abbreviations 172 Appendices 173 vii Table of Images Image 1: Introduction to forum, 8 October 2016 53 (Credit: Collective Encounters) Image 2: Rehearsal of selfie scene, 5 August 2016 57 (Credit: Matthew Elliott) Image 3: Forum performance, 8 October 2016 61 (Credit: Collective Encounters) Image 4: Outside of CIP San Joaquin, 17 November 2016 69 (Credit: Matthew Elliott) Image 5: Floor plan of CIP San Joaquin, 15 December 2016 87 (Credit: Matthew Elliott) Image 6: Hilary Benn rehearsal visit, 5 June 2017 92 (Credit: Matthew Elliott) Image 7: Rehearsal of ‘world’s worst teacher’ scene, 10 July 2017 105 (Credit: Matthew Elliott) Image 8: Post performance forum, 11 July 2017 110 (Credit: Matthew Elliott) viii Practice Documentation Contents Folder one – Legislative Theatre project with Collective Encounters and Youth Parliament. Liverpool, UK. 1. Legislative Theatre performance with Youth Parliament UK. Lancashire County Hall. October 2016. Folder two – Future Routine devising, rehearsals and performance. Cockburn School. Leeds, UK. 1. Responding to stimulus; student devised scene A. 2. Responding to stimulus; student devised scene B. 3. Hilary Benn MP and Councillor Angela Gabriel rehearsal visit A. 4. Hilary Benn MP and Councillor Angela Gabriel rehearsal visit B. 5. Hilary Benn MP student-led interview. 6. Rehearsal of opening scene. 7. Future Routine performance and forum. ix List of Appendices Appendix A – Collective Encounters Youth Theatre, Children in Need 173 report form. Appendix B – Collective Encounters Youth Theatre group interview. 177 5th August 2016. Appendix C – Collective Encounters Youth Theatre peer-led interview. 182 16th October 2016. Appendix D – Legislative Theatre audience questionnaire responses. 186 8th October 2016. Appendix E – Email Correspondence with Mr Russell. 189 9th November 2016. Appendix F – Interview with SENAME worker and Tierra de Esperanza worker. 190 7th January 2017. Appendix G – CIP San Joaquin, group interview with participants. 194 13th January 2017 Appendix H – CIP San Joaquin, group interview with participants. 196 16th January 2017. Appendix I – Cockburn School, Interview with Miss Piggott. 198 20th July 2017. Appendix J – Cockburn School, Interview with Stephanie. 201 17th October 2017. Appendix K – Cockburn School, Interview with Daniel. 203 17th October 2017. Appendix L – Cockburn School, Interview with Holly. 204 17th October 2017. Appendix M – Cockburn School, student led interview with Mr Russell. 206 12th June 2017. Appendix N – Cockburn School. List of proposals for Student Council. 208 1 Chapter One - Context Between Santiago and South Leeds …a foreign land to which we were giving ourselves in such wise that it was receiving us in a way that the foreignness was turning into comradeship, friendship, siblingship. Homesick as we were for Brazil, we had a sudden special place in our hearts for Chile, which taught us Latin America in a way we had never imagined it. I visited
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