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The Western States Theatre Review, Volume 3, 1995 Masthead Logo The Western States Theatre Review Volume 3 1995 Article 1 1995 The esW tern States Theatre Review, Volume 3, 1995 Follow this and additional works at: https://cedar.wwu.edu/wstr Part of the Other Theatre and Performance Studies Commons Recommended Citation (1995) "The eW stern States Theatre Review, Volume 3, 1995," The Western States Theatre Review: Vol. 3 , Article 1. Available at: https://cedar.wwu.edu/wstr/vol3/iss1/1 This Complete Volume is brought to you for free and open access by the Peer-reviewed Journals at Western CEDAR. It has been accepted for inclusion in The eW stern States Theatre Review by an authorized editor of Western CEDAR. For more information, please contact [email protected]. et al.: The Western States Theatre Review, Volume 3, 1995 Northwest Volume 3 1995 1 Beyond the Stage: Reflections on Street Theatre in India LOU FURMAN 19 The Issue of Identity in Steven Dietz' God's Country or Why Bring the Aryan Nations to W.S.U.? TERRY JOHN CONVERSE 29 Researching Cod's Country in God's Country JOSE.PH PROCTOR 4 t Cutting a Dash: Creating a Costume for Nora - Designing Clothes for Gemma O'Connor's SigNora Joyce CHARLOTTE]. HEADRICK AND ROBIN WAYJ"ENICK 45 Theatre in Britain FORREST SEARS Published by Western CEDAR, 2017 1 The Western States Theatre Review, Vol. 3 [2017], Art. 1 NORTHWEST THEATRE REVIEW NORTHWEST DRAMA CONFERENCE (Founded 1948) Editor George Caldwell Membership in the Northwest Drama Conference, which includes a subscription School of Music and Theatre Arts to the Northwest Tlualre Review, is open to non-students for $60 per year and $40 Washington State University per year for students. Individual copies of the Northwest Theatre Review without Pullman, Washington 99164-2432 (509) 335-7447 conference membership are $6.00 each. Please send change of address, payment of dues or other requests to: Millie Stenehjem, Treasurer P.O. Box 1647 Yakima Valley Community College Yakima, WA 98902 Officers of the Conference Mark Kuntz, President Eastern Oregon State College Jack Watson, Vice President Editorial Policy University of Oregon The Northwest Theatre Review is a regional journal intended to publish Millie Stenehjem, Treasurer works by or about Northwest theatre scholars and practitioners. Our goal Yakima Valley Community College is to provide a means by which co share the discoveries and accomplish­ Rebecca Hilliker, Secretary ments of our vast, highly productive region as exemplified by the diverse University of Wyoming topics contained in this issue. All contributions are of vital importance to our region and may encompass topics as wide ranging as playwriting, NWDC Participating Institutions community college issues, theatre for youth and international theatre. Please submit projects, articles, reports, and short playscripts to the edi­ Bellevue Community College Sheldon Jackson College tor. Materials should consist of a hard copy (double spaced with the ti­ Boise Stace University Shoreline Community College Centralia Community College Skagit Valley Community Col!ege tle, your name and professional title and institutional affiliation, if Central Wash.ington University Southern Oregon State College applicable) and, if possible, a 3 1/2" diskette with the identification of Clark College Treasure Valley College the language/format and document title. Columbia Basin College University of Alaska, Anchorage Ea.stern Montana College University of Alaska, Fairbanks Eastern Oregon State College University of Idaho Everett Community College University of Montana Highline Community College University of Northern Colo1"ada .Lane Community College University of Oregon © 1995 by the Northwest Drama Confel'ence Lewis-Clark State College University of Portland Linfield College University of Puget Sound Montana State University University of Wyoming Oregon State University Walla Walla Community College Pacific University Washington State University Pierce College Western Oregon State College N<JTthwesl TMatre Review invites advertisements. All material submitted should be Portland State University Western Washington University camera-ready. Rates and standard proportions are as follows: Rocky Mountain College Yakima Valley Community College Full page (4.5" wide x 7.25" high)-$75 per issue Half page (4.5" wide x 3.5" high) -$50 per issue Submit material and inquiries to George Caldwell, School of Music and Theatre Arts, Washington State University, Pullman, Washington 99164-2432. https://cedar.wwu.edu/wstr/vol3/iss1/1 2 et al.: The Western States Theatre Review, Volume 3, 1995 Norlhr,ust Theatre R~iew, Volume 3 (1995), 1-18 Beyond the Stage: Reflections on Street Theatre in India LOU FURMAN treet Theatre is an extremely effective form of communication in countries with low literacy rates. The art form reaches out to the S population and requires minimal technical support: no sets, no lights, and no stage. In fact, these technical machinations of proscenium theatre are obstacles in performance. I focused on this genre of theatre during my recent sabbatical year in India. I began my journey in Bombay near the end of the Monsoon season. Because of the rains, street theatre activity was minimal. But l was able to gain background information. Many of my first contacts were main­ stream theatre people working in a proscenium setting who had little respect for street theatre. (Proscenium theatre in India came only with the British occupation of the country. Two hundred years of oppression left its impact on all aspects of Indian life. Western theatrical practice is one of the more visible artifacts.) This negative exposure was helpful as my reading in the United States presented only a positive perspective of street theatre activists. One of the artists to whom I spoke, Vijay Tendulkar, offered several insights. Tendulkar is one of the leading playwrights in India. His works have been translated into a number oflndian languages (of which 14 offi­ cial languages are recognized by the government and 26 languages are • spoken by a least one million or more people). Most interestingly to me, he maintained that social/political theatre (the form his own plays take) is not effective because "Whatever you do for adults, you cannot change them basically." He believes that street theatre can be used to give peo­ ple information, but cannot make them act on issues. Street theatre is merely advertising in action. If people want help with their drug prob­ lem, a street theatre group might be able to tell them how to get that help. But the performance will not convince the addict that help is neces­ sary. Tendulkar maintained that only theatre intended for viewing by youth is effective in changing audience attitudes, because the young are Lou FURMAN is Associate Pi·ofessor of the School of Music and Theatre Art.s, Wa$hington State University, Published by Western CEDAR, 2017 3 The Western States Theatre Review, Vol. 3 [2017], Art. 1 2 FURMAN NORTHWEST THEATRE REVIEW 1995 3 not close minded to change. (Theatre for young audiences is a minor, interested in their motivation for being a part of the program; the re­ but fast growing movement in India.) sponse: "To serve India." Street theatre groups may be composed of actors (or aspiring actors), I was invited to their village and I went; the first foreigner ever to but most likely the performers will be social workers, political activists, visit. I spent the days being taken from one family to another and the office workers or village laborers. Regardless of the composition of the nights with the performing group. The government supplied one jeep group, street theatre troupes fall into four categories: 1) government to contribute to the effort. On some evenings, 18 of us with tabla and sponsored groups that try to encourage participation in specific programs harmonium would fit into the niches of the jeep and hang off the side. of the government; 2) cultural groups that are associated with Non­ We would eat dinner in whatever village we had performed in last and governmental Organizations (NGOs) and use theatre to deliver the NGO return home around I a.m. I say, "we performed," because I was taught position; 3) political groups that are often associated with a particular one of the songs in the show and became an honorary member of the political party and seek to change society through a political process; and company. By 6 a.m. the men would be back to work and I would start 4) independent groups that tend to follow the line of a strong director. my tour of families who were eager to meet the American. Government Sponsored Groups The success of the performances cannot be determined. In some cases, the audiences were very small. At one site nothing had been prepared In a country that has a literacy rate of 48%, the most effective way and after going through the village singing to dark houses to attract at­ to make people aware of a government policy is through theatre. Cur­ tention for the performance (electricity was out at the time}, we gave up rently, the push of the government is to increase literacy. The attitude and went to a second site. Here we were well received and performed of the government and many of those involved in the program seems to for about 375 people. be that all inequalities of Indian society will be resolved if the lower caste Villagers who viewed the performances may have been motivated to and rural populations acquire reading skills. While that scenario is doubt­ improve their lives by becoming literate. But the reality is that many of ful, any movement in the direction of mass education must be consid­ these people had already accepted the notion that reading was valuable. ered welcome at this time in the country's history. The problem is that their choice was often either to take time to learn The "Total Literacy Campaign" was developed by the central govern­ the written word or to do the work necessary for daily survival.
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