Hidden Voices Working Portfolio
Megan Faye Schutt Winter 2006
Masters Examination Committee: Jeanine Thompson, Chair Maureen Ryan Murphy Dr. William Conable "Hidden Voices: A creation through collaboration with fellow MFA actors and community partner Turning Point." Outreach & Engagement Working Portfolio
Written Documentation Presented in Partial Fulfillment ofthe Requirements for the Degree of Master of Fine Arts in the Graduate School of The Ohio State University.
By
Megan Faye Schutt
The Ohio State University 19 May 2006 ,
Master's Examination Committee: Approved by
Ass?ciate Professor Jeanine Thompson, Chair ~~-~~~~\htL. ASSIstant Professor Mo Ryan L =.:1-- .\ Professor William Conable Megan Faye Schutt
Home: • Office: 1825 Lafayette PI. #B2 2046 Drake Union Columbus, OH 43212 Department of Theatre 614-284-5906 The Ohio State University [email protected] Columbus, OH 43210
Education: MFA in Acting. Focus: Creation ofNew Work-The Ohio State University, 2006. Advisor: Jeanine Thompson. Acting, Shakespeare, Linklater-Maureen Ryan Acting, Meisner-Bruce Hermann Devising, Outreach and Engagement-Valene Kaneko Lucas Movement, Laban, Bartenieff, Viewpoints, Composition, Mime, Suzuki- Jeanine Thompson Voice, Linklater, Singing- Mandy Fox Alexander Technique, Body Mapping- Dr. William Conable
BFA in Acting (Actor Training Program)-University of Utah, 2003. Acting- Jay E. Raphael, Barbara Smith, Sandra Shotwell, Matt Tomlanovich Movement, Butoh Dance, Viewpoints, Commedia- Jerry Gardner Voice/ Speech! Dialects- Sarah Shippobotham, Sandra Shotwell Singing- Debra Lynn Cook (Legit and Belt) Alexander Technique- Jacque Bell, Cathy Pollack
University of Cambridge - Shakespeare Summer School 2002 Intensive English based coursework in Shakespeare's texts with Dr. Charles Moseley, Dr. Philippa Berry, and Professor David Hillman. The courses focused on the Romances and Comedies.
Academic Teaching Experience: Ohio State University, Fall 2003 - Current Graduate Teaching Associate, Department ofTheatre, Columbus, OR Theatre 280- Acting Fundamentals, Instructor - 2003-2004. This class was taught as a 10-week course. The class focused on modem American realism as an acting technique. The students leamed vocal and physical warm-up techniques, how to analyze a scene and create a character, and how to apply these concepts to scenes and monologues.
Theatre 280- Acting Fundamentals, Instructor - 2004. This class was taught as a 5-week course. The class focused on modem American
Megan Faye Schutt I realism as an acting technique. The students learned vocal and physical warm-up techniques, how to analyze a scene and create a character, and how to apply these concepts to scenes and monologues.
Theatre 100- Introduction to Theatre, Recitation Instructor. - 2004-2005. TA for this 400 student 10-week survey course. Responsibilities • included leading students in the discussion ofplays, facilitating creative group projects, assisting the lecturer, and doing the grading for recitation sections. Experience in WEB CT and Excel.
Theatre 386- Movement Fundamentals, Instructor 2005-2006. This class is taught as a IO-week course. The class explores basic principles ofmovement for actors. The students learn how to find neutrality, explore a character using Laban effort-shape, and apply their physical choices to monologue and scene-work.
Other Teaching Experience: University of Utah, Theater School for Youth, 2003. Lead Teacher, Salt Lake City, UT Taught classes in Acting, Shakespeare's England and Audition Technique for 8-12 year-olds. The session was 2 1/2 weeks long, and culminated in a performance before the student's families.
Taught classes in Acting, Shakespeare, Audition Technique, and Voice Production to 12-18 year-olds. The session was 3 1/2 weeks long, and culminated in a performance for the student's families.
Headed the Aftercare program, in which some ofthe younger students would stay until their parents could pick them up.
Workshops Led: The Kennedy Center American College Theatre Festival: Region III, "Viewpoints: A Basic Introduction." January 12,2006. Bloomington, IL. A ninety-minute workshop which introduced the basic concepts of the Viewpoints Training through discussion and practical exploration. The workshop was open to college students and faculty.
Port Clinton Performing Arts Festival, Movement Workshops. September 15,2005. Co-leader. Port Clinton, OH. Two one-hour introductory movement workshops for high-school drama students; the focus was on finding neutrality and a sense of ensemble awareness.
Ohio State University, Audition Workshop January 29 and September 30,2004.
Megan Faye Schutt 2 Co-leader. Columbus, OH. Two-hour workshops on how to audition for OSU department shows, as well as other venues.
Apprenticeshipsl Internships: The ~ilders Association and dbox - Internship - July 25-August 4, 2004 Worked with Marianne Weems and her company as they did preliminary research on Supervision. This process involved improvisational scene work dealing with identity and technology and work with Motion Capture Technology as an actor. The Mo-Cap work involved capturing pedestrian movements for dbox to manipulate digitally.
New Jersey Shakespeare Festival- Apprentice Company - Summer 2001 Voice- Beth Maguire Alexander Technique- Barbara McCrane Acting-Lewis Magruder This was an l l-week acting apprenticeship involving class work as well as creative work. Duties included working in the scene shop and serving as run crew for their production of Three Sisters.
WorkshopslResidencies: David Diamond. Fall 2005. A lecture about career coaching for artists.
Mabou Mines. November 18, 2005. A talkback with Lee Breuer, the director of Mabou Mines Dollhouse, about his experiences as an artist and director.
Builder's Association. November 4,2005. A talkback with Marianne Weems and Matthew Bannister (dbox) about the creation and development of Supervision.
Neo-Futurists. November 4,2005. A conversation with the cast and crew of Too Much Light Makes the Baby Go Blind about their process and the logistics of living as an artist in Chicago.
Alexandru Berceanu. Fall 2005. A conversation with Alexandru about his work as a theatre director in Romania.
Shared Experience. London. September 1,2005. A workshop with Kate Saxon about the methods Shared Experience uses to create their productions.
Improbable Theatre. London. August 13,2005. A workshop with Phelim McDermott focusing on Improbable Theatre's improvisational methods for creating new work.
Complicite. London. August 22-23,2005. A two-day workshop with Clive Mendes on the processes Complicite goes through in the creation and presentation of a new piece of theatre.
Megan Faye Schutt 3 SITI Summer Intensive. Saratoga Springs, NY. June 2005. A month-long intensive residency with Anne Bogart and the SITI Company. Training included Composition, Viewpoints, Suzuki, Speaking Practice, Dramaturgy, Movement Lab, and Punch/Kick. Final project was the direction and presentation of a 10 minute Composition piece.
Lizbeth Goodman and SMARTLAB. Columbus, OH. Spring, 2004. A week-long creative residency on the development ofa theatre performance for the 2006 UN Conference for Technology, which was held in Tunisia in November, 2006. The creative workshops were used to generate material. There was an informal performance at the end ofthe residency.
Richard Maxwell and the New York City Players. November 12, 2004. A talkback about their work and process.
Lone Twin. October 2004. A talkback about their work and process.
Royal Court Playwriting Residency October 2004. Simon Stephens and Emily McLoughlin taught a 5-day workshop on plot and character development in playwriting.
Anne Bogart and the SITI Company. The Ohio State University, Columbus, OR. 2004. A six-day residency led by Barney O'Hanlon in Viewpoints, Suzuki and Composition.
Goat Island Performance Group. The Ohio State University, Columbus, OH. January 2003. A 2 1/2 week residency in the devising of new work.
Robert Post. November 2003. A one-day workshop in mime and the creation of new work.
da da kamera. November 2003. A talkback on the company's performance work and • writing techniques. Bill Talen. October 2003. A one-day workshop about his theories ofperformance and "spat theater" as social activism.
Jeffrey Solomon. October 2003. A workshop on the creation of solo performance work.
Improbable Theater. October 2003. A talkback on their creative process.
Teatr Provisorium and the Kompania Teatr, The University of Utah, Salt Lake City, UT, 2002. A weeklong workshop on Polish theatre and the work of Jerzy Grotowski.
Megan Faye Schutt 4 Diego Pinon, The University of Utah, Salt Lake City, UT, 2001. A one-day workshop on Butoh Dance Technique.
Artistic Experience: Performer - A Bright Room Called - Die Alte -Thurber-OSU/Mo Ryan Day «Hidden Voices " -Mary/Co-creator -Bowen-OSUNalerie (a devised work) Kaneko Lucas -Held Together With Glue -Ensemble/Puppeteer -New Works Lab and Port and Tape Clinton Performing Arts (puppet theater) Festival- OSU/Jennifer Stoessner -Vaudeville -Collaborator/Ensemble -Bowen and Port Clinton (a devised work) Performing Arts Festival OSU/Robert Post and Jeanine Thompson «Another Part ofthe House -Amelia -Bowen-OSU/Jeanine Thompson »Measure for Measure -Pompey -Thurber- OSUlBruce Hermann »Shakespeare on Love -Ensemble -Actors' Theatre/John Kuhn (world premiere) -tt« Fate ofA Cockroach -Samia -Bowen- OSUlNaila Al Atrash -Pentecost -Gabriella Pees -Thurber- OSU/Jonathan Putnam -The Rimers ofEldritch -Evelyn Jackson -Boweri- OSU/Bruce Hermann -Table Manners -Annie -Babcock- U ofUtahlPatty Laine -The Rimers ofEldritch -Eva Jackson -Babcock- U ofUtahlPaul Barnes -wi» Will Carry the Word? -Yvonne -Lab- U ofUtahiRobin Wilkes-Dunn »Phedre -Enone -Lab- U ofUtahiHugh Hansen -The Nature ofthe Nautilus -Speaker -Lab- U ofUtahiJohn (world premiere) Woodhouse «Aniigone -Ismene -Babcock- U of UtahlBarbara Smith «Picnic -Irma Kronkite -Babcock- U of UtahiBarbara Smith
Megan Faye Schutt 5 »Clrcus ofDesire -Alex -Lab- U of Utah/Angie (vvorldprerniere) Prater »Metamorphosis -Greta Sarnsa -Lab- U of Utah/Linda Brown »Summer and Smoke -Nellie Ewell -Babcock- U ofUtah/Jay Raphael -Tosca -Chorus -Boise Opera «Hansel and Gretel -Chorus -Boise Opera -Madama Butterfly -Chorus -Boise Opera -Rhinoceros -Daisy -The Actors Guild/Ed Britt -As You Like It -Rosalind -Boise Actors Guild/Ed Britt «Once Upon A Mattress -Princess Winnifred -Boise Actors Guild/Ed Britt »Camelot -Chorus -Boise Actors Guild/Ed Britt «Crimes ofthe Heart -Babe -Boise Actors Guild/Lisa Crane »Company -Amy -Boise Actors Guild/Ed Britt -Twetfth Night -Valentine/Priest/Officer -Boise Actors Guild/Ed Britt «Into the Woods -Lucinda -Boise Actors Guild/Ed Britt
Creator and Director At the Zoo: the poetry ofA. A. Milne, Theatre School for Youth, University ofUtah, summer 2003.
Co-Director Macbeth, with Amanda Fulks, Theatre School for Youth, University ofUtah, Summer 2003.
Assistant Director/ Assistant Stage Manager Macbeth, Jaq Bessell - Director, Black Dog Productions, July-August 2003.
Movement Coach The Government Inspector, Beth Kattelrnan- Director, Ohio State University, 2006.
Assistant Dialect Coach Table Manners, Sandra Shotwell> Dialect Coach, University ofUtah, 2003.
Megan Faye Schutt 6 Administrative Experience: Department of Theatre: Main Office, OSU, Assistant 2003-2006 Graduate Student Syndicate, OSU, Secretary 2004-2005 Image Factory Drama Club, Centennial High School, President 1998-1999 International Club, Centennial High School, President 1998-1999 International Club, Centennial High School, Vice President 1997-1998
Awards, Honors, Grants and Scholarships: 2006 Graduate Associate Teaching Award (GATA). OSU. Nominee.
1.R. Simplot Scholarship 2004 $1000 merit-based scholarship awarded by the J.R. Simplot Company
Fine Arts House Scholarship, University ofUtah 2002-2003 A scholarship that provided a majority ofthe housing expenses required in order to live in The Fine Arts House on the University of Utah campus for the 2002 2003 school year.
Spring Break on Broadway Scholarship, University of Utah 2002 A scholarship that supported a week-long tour of New York, including airfare, hotel, tours and theater tickets for six Broadway shows.
Kennecott Scholar, University of Utah 2001-2003 A scholarship awarded to an outstanding student in the College of Fine Arts by the Kennecott Foundation.
Utahna B. Meilstrup Scholarship 2000-2001 $500 merit-based scholarship offered by the University of Utah Department of Theatre.
1. R. Simplot Scholarship, J.R. Simplot Company 1999-2001 $1000 merit-based scholarship awarded for three consecutive years by the J.R. Simplot Company
David P. Gardner Scholarship, University of Utah 1999-2000 $500 merit-based scholarship offered by the University of Utah Department of Theatre.
Irene Ryan Nomination, 1999. Summer and Smoke, University of Utah Nominated for my performance as Nellie Ewell. Competed at the 2000 ACTF Regional Festival in Las Vegas, NV.
Mayors Award for Youth, 1996. Boise, Idaho Recognition of academic and extracurricular accomplishments by Boise, ID mayor Brent Coles.
Megan Faye Schutt 7 References:
Jeanine Thompson, Associate Professor Maureen Ryan Murphy, Asst. Professor The Ohio State University Dept. of Theatre The Ohio State University Dept. of Theatre 1089 Drake Union 1089 Drake Union 1849 Cannon Drive 1849 Cannon Drive Columbus, OH 43210 Columbus, OH 43210 (614) 292-5821 (614) 292-5821 thompson. [email protected] [email protected]
Mark Shanda, Department Chair Mandy Fox, Assistant Professor The Ohio State University Dept. of Theatre The Ohio State University Dept. of Theatre 1089 Drake Union 1089 Drake Union 1849 Cannon Drive 1849 Cannon Drive Columbus, OH 43210 Columbus, OH 43210 (614) 292-5821 (614) 292-5821 [email protected] [email protected]
Valerie Kaneko Lucas, Assistant Professor Janet Parrott, Assistant Professor The Ohio State University Dept. of Theatre The Ohio State University Dept. of Theatre 1089 Drake Union 1089 Drake Union 1849 Cannon Drive 1849 Cannon Drive I Columbus, OH 43210 Columbus, OH 43210 (614) 292-5821 (614) 292-5821 [email protected] parrott. [email protected]
Thomas Postlewait, Professor Joy Reilly, Professor The Ohio State University Dept. of Theatre The Ohio State University Dept. of Theatre 1089 Drake Union 1089 Drake Union I 1849 Cannon Drive 1849 Cannon Drive Columbus, OH 43210 Columbus, OH 43210 (614) 292-5821 (614) 292-5821 postlewait. [email protected] [email protected]
Sandra Shotwell, Professor of Theatre Jerry Gardner, Professor of Theatre University of Utah Department of Theatre University of Utah Department of Theatre 240 South 1500 East Room 206 240 South 1500 East Room 206 Salt Lake City, UT 84112-0170 Salt Lake City, UT 84112-0170 (801) 581-6448 (801) 581-6448 [email protected] [email protected]
Amy Oakeson, Artistic Director, William Conable, Professor Youth Theatre at the U The Ohio State University Dept. of Music University of Utah Department of Theatre 210 Hughes 240 South 1500 East Room 206 1899 College Road !,~ Salt Lake City, UT 84112-0170 Columbus, OH 43210 (801) 581-6448 (6140292-1331 [email protected] [email protected]
Megan Faye Schutt 8 CON Tl N r s
' ech on I. Group Resea rch Essay (pgs. 1-3) 2. Action Plan (pg. 4) 3. Matrix ofNeeds (pg. 5) 4. Workshop Plans (pgs. 16-18) i. Workshop One (pgs. 6-9) ii. Workshop Two (pgs. 12-14) iii. Workshop Three (pgs. 15-18) 5. Self Evaluations (pgs. 19-41) i. Workshop One (pgs. 19-25) ii. Workshop Two (pgs. 26-33) iii. Workshop Three (pgs. 34-4 1)
Section B: I. Individual Project Evaluation (pgs. 42-51)
Section C: -, I. Individual Artistic Process Reflection (pgs. 52-63)
Section D: 1. Individu al Project Proposal (pgs. 64-67) 2. Workshop Plans (pgs. 68-8 1) i. Workshop One (68-71) ii. Workshop Two (72-76) iii. Workshop Thr ee (77-81)
Appendix: 1. Gro up Research Essay (pgs . 82-9 1) 2. Initial Title Page (pg. 92) 3. Bibliography (92-95)
~~ AV E R Y - READY I t, D E :<- DI V I DE R S Megan Faye Schutt 1
Issue One and the Ohio Constitution written by Megan Schutt'
While looking at important issues and concerns effecting victims of domestic violence in Ohio at the national level, it became clear that there was an important piece of recent local legislation being ignored by the general public, at least in regards to victims of domestic violence. On November 2, 2004, Ohio passed an amendment to the state's constitution denying legal status to couples not recognized under a specific definition of marriage. The amendment is only two sentences long and was passed with 62% of voters supporting it. The exact wording of the amendment is as follows:
"Be it Resolved by the People of the State of Ohio:
That the Constitution of the State of Ohio be amended by adopting a
section to be designated as Section 11 of Article XV thereof, to read as
follows:
Article XV Section 11. Only a union between one man and one woman
may be a marriage valid in or recognized by this state and its political
subdivisions. This state and its political subdivisions shall not create or
recognize a legal status for relationships of unmarried individuals that
intends to approximate the design, qualities, significance or effect of
marriage".2
A majority of the publicity surrounding the passage this amendment has focused on the issue of same sex marriage and partner benefits. This amendment passed with little to no mention of the larger scope and application of the amendment. Itwas sold as a "gay marriage ban." However, 'it's that legal jargon in the second part of the amendment that
I Adrian Brown's, Chris Roche's, and Robin Post's portions of the group research essay are included as Appendix 1. 2 http://www.smartvoter.org/2004/ll/02/oh/state/issue/l/. May 25, 2005. Megan Faye Schutt 2 has lawyers battling in several states. In Ohio, a Cuyahoga County judge reduced a charge against a man accused of domestic violence against a woman because the judge said Ohio's domestic violence law recognized relationships between unmarried couples as
"approximating the significance or effect of marriage.''' 3 In the last year, there have been multiple instances of batterers using the amendment to have charges reduced or dropped in domestic violence cases. Some of the charges have been modified, and some have not.
Right now it depends largely on each judge's interpretation of the law. In conversation with the Center Director ofTP, the Director spoke of how some victims of domestic violence aren't getting the help they need.
Since the law is murky, many judges are being extremely careful right now, often to the detriment ofthe victim and their rights. 'Nancy Neylon, executive director ofthe
Ohio Domestic Violence Network, said the uncertainty about the law has a bad effect on women who are battered. "We don't know how many victims of violence are hearing about this and not seeking options because they don't know what is going to happen to
them. That is where we are at, and it's not a great place to be," Neylon said.' 4 Victims are
also being denied protection orders if they aren't legally married to their attackers.
'''Because the state can't create any legal status for unmarried couples, it's very possible that domestic-violence protection orders could no longer be used ifthere's a domestic violence situation with an unmarried couple," says Alan Melamed, an attorney and
chairman of the anti-Issue 1 group Ohioans Protecting the Constitution.' 5
Essentially, the passage ofIssue One in November of 2004 created a very
unstable atmosphere for victims of domestic abuse and their families. While there has
3 http://www2.1jworId.com/news/2005/mar/28/gay_marriage_ban!. May 25, 2005. 4 http://www2.1jworld.com/news/2005/mar/28/gay_marriage_bani. May 25, 2005. 5 http://www.salon.com/news/feature/2004/l0/18/gayohio/. May 25, 2005. Megan Faye Schutt 3 been little publicity about specific examples of how situations have changed, there is clearly a lot of concern in the support community for domestic violence victims. In the
Hidden Voices project, I (MS) believe that we may be able to shed some light on this problem and show people just how widespread the effects of Issue One really are. I wonder how many ofthe people who are being denied assistance because of the amendment voted for its passage. ·' ••~ ...... '~::;"'..."-' '-"'_~,;~ ----- .O""""C'.""'•.'=",__ ""=,_-~,.',.'",,,_,,,- 'C'".,"',"'" _..... _~""~ '-:':"--:-~"""" - ~- ":.n.'~""""!""""" ",~ ...... -'
Action Plan Megan Faye Schutt 4
THE OHIO STATE UNIVERSITY Department of Theatre I neatre ~:nH .u", - MI'"A uutreacn & I::ngagement ACTION PLAN FOR [name of venue] A domestic violence shelter in central Ohio PROPOSED BY [names of your small team] MS, RP, CR LAST UPDATED 12/22/05 OVERALL AIM OF PROGRAM: • To EXPLORE basic STORY-TELLING and PLAY-MAKING techniques with RESIDENTS at a DOMESTIC VIOLENCE SHELTER WORKSHOP WORKSHOP MATERIALS INTRODUCTION MAIN CLOSURE TOPIC OBJECTIVE (what you hope to or WARM-UP ACTIVITY or COOL accomplish) DOWN 1. Forging • to clarify specifics of overall project to magazines, Leader: MS Leader: Leader: RP My Place participants (we will be the first group scissors, paper, CR to visit TP) glue, tape, • to establish secure foundation for music, scrap working together. paper, crayons, markers 2. Creative • promote each participant's None needed Leader: CR Leader: Leader: MS Images expression whatever that may be. The RP [participants will choose what they wish to focus on.] • encourage physical expression • encourage verbal creative expression • promote community support and discussion of expression and stories 3. Exploring • to stimulate exploration of personal None needed Leader: RP Leader: Leader: CR Stories stories MS • to allow participants to tell stories they want to share • to explore potential scenarios for Hidden Voices --_.._-,~..,' .._.
Matrix of Needs Megan Faye Schutt 5
Theatre 987.02: MFA Outreach and Engagement Autumn 2005 FINAL VERSION 20 OCT 2005
MATRIX OF NEEDS FOR: Turning Point Project The matrix is not a contract. Its function is to provide an overview of each partners needs before you start to work with a community partner
Date: 1 2 3 4 Potential watchpoints 28 Sept 05 or conflicts with other sections of the Matrix OSU's Needs To create a new devised To provide a mutually To provide experience and To fulfill production Balance need to collect show, Hidden Voices, as beneficial learning experience training in theatre for deadlines material with Venue part of the OSU Theatre for community partners, outreach and engagement for need #1 and Client season students, and faculty students and faculty needs #2 & 3 Turning To ensure its clients are To provide opportunities for To enhance its community To provide learning Need to protect Client Point's Needs not exploited clients to engage in creative education program via opportunities for needs to be negotiated activity workshops and the play student interns with OSU need # I Hidden Voices Turning To be treated with To be protected from To be able to voice opinions To have an outlet for Potential limitation of Point's dignity and respect exploitation in a safe, non-coercive self-expression access to Client stories Clients Needs atmosphere may impact OSU needs #1 & 2, and Team needs 2 &3 Team Needs For each individual to To create challenging artistic Keep the process from page To meet the OSU needs #1 & 4 (from MFA have an active voice in roles for each ensemble to stage active, without requirements set by should be considered re: statement 03 the creation, rehearsal member, and for each member needless intellectualizing or the department for Team needs #2 & 3 Oct 05) and performance of to have a say in the decisions superfluous red tape to the completion of the Hidden Voices pertaining to the assignment of impede it degree those roles
Consider: 1). How can needs be met? 2). How can potential conflicts be negotiated? 3). As an individual: what is your support network in this process?
_72FT ? ;; ·[·t 7'" n J'T&' " . ., .... , nln; r if cd Megan Faye Schutt 6
Theatre 987.02: MFA Outreach and Engagement Dr. Valerie Kaneko Lucas Spring 2005 Workshop One
WORKSHOP TITLE Forging My Place WORKSHOP TEAM CR,RP,MS PARTICIPANT GROUP (TP)
DATE 10/4/05 WORKSHOP AIM: • Clarify specifics of overall project to participants (we will be the first group to visit TP). • Establish secure foundation for working together.
INTENDED OUTCOMES: • Clients will begin the process of self-reflection through artistic means. • Clients will feel some level of comfort expressing themselves to the team either verbally or via an art project.
RELEVANCE TO OVERALL PROJECT Their expression will inform our OBJECTIVE: expression and their trust will enhance our ability to speak to their truths.
[ 1. WARM-UP - Introductions/Clarifications (15 minutes)
Name of activity: Introductions Aim: Introductions and establishment of comfortable foundation in which to work together. Materials: None. Leader: MS Shape (how the space is used): Seated in a circle on the floor or in chairs.
Set-up: Introductions from each team member and then introductions from client group. Also offer clarification regarding the specifics of the project. Megan Faye Schutt 7
Red Flags (things to look out for): Some may not wish to speak. Allow for this.
[ 2. MAIN ACTIVITY - 45 minutes
Name of activity: Forging My Place Aim: To promote comfort of expression through visual imagery, tactile art project and verbal communication. Materials: CD, CD player, several magazines, scissors, newspaper and or construction paper, glue sticks, staplers, scrap paper, crayons and markers. Leader: CR Shape (how the space is used): Spread out and use entire room or space followed by use of other more private spaces for reflection.
Set-up (any introductory remarks/questions to the group):
CR will introduce himself as the leader of this workshop. RP will start pre-selected CD.
Instructions:
CR will recommend that each individual find a place on their own where they can hear him and simultaneously focus on themselves. CR will lead them through a visual imagery and sensory meditation.
Example: It is often helpful to close your eyes when listening to the imagery. However, it is not essential. You can look down or do whatever helps you to focus on what you hear. Consider any place you might like to exist in alone. This place can be imagined or real. If you would be more comfortable bringing someone with in to this place you may bring one person. This person may be alive or dead or can even be an animal. Take a minute to imagine who they are. If finding a place of comfort isn't accessible to you, than go to the place you want to go. Now imagine the sounds, are there loud sounds, birds, running water, kids playing, music of some kind, etc. What are the smells here? What's the temperature like? Megan Faye Schutt 8
What is the rhythm of the place? Are things moving fast, slow or somewhere in between? Is It bright in this place or dark? Take a few moments to consider some of these ideas and if you want to write some of them down to remember them you may.
Once meditation is completed, CR will instruct participants to use the provided materials to create the place or images constructed in their minds during the meditation. We will join in the creation of projects of our own as a means ofjoining in with the process and avoiding the participants feeling of being watched.
Explanation of Collage project:
Now take some of the magazines and find images or words that relate in some way to the place you've created in your mind. I must emphasize that this is not about making a finished product nor is it about making a masterpiece. That doesn't mean you can't make a masterpiece. Itjust means this is an exploration and not something to judge or label as good or bad. It's just your place. Place the pictures on your paper however you'd like. You may tear the pictures out or cut them. You may also use the crayons, markers, etc. to draw images that have come to mind, colors, etc. Take 15 or so minutes for to work on projects.
Red Flags (things to look out for):
This may be emotionally difficult for some participants or otherwise uncomfortable. All responses, barring obvious harm to other participants, must be allowed.
[ 3. CLOSURE/COOL-DOWN - 15 minutes
Name of Activity: Regroup Aim: Allow participants to share their experience of project and anything else that came up as a result of project. Materials: The collages. Leader: RP Shape (how the space is used): Sitting in circle.
Set-up (any introductory remarks/questions to the group):
RP: "Please take a seat in the circle." We just want to give you all a chance to comment on any thing you may have experienced or wish to share. However, it is in no way necessary that you do share. This is just an opportunity for those who wish to. Megan Faye Schutt 9
Instructions:
Everyone shares as they wish and team members listen and possibly prompt discussion. Share what we have created with them. Give them the opportunity to keep, destroy, or give us their projects. Thank them for their willingness to participate
Red Flags (things to look out for):
Members may not wish to share what they created and needs to be allowed for. Members may become emotional when sharing and that needs to be allowed. Megan Faye Schutt 10
Theatre 987.02: MFA Outreach and Engagement Megan Schutt Dr. Valerie Kaneko Lucas-Instructor Workshop Two
WORKSHOP TITLE Creative Images WORKSHOP TEAM CR, RP, MS Overall aim: Clients physical creations using their bodies to illustrate ideas that are important to them and insight into their ability, desire or lack of desire to do so. PARTICIPANT GROUP TP (Note I am using 'participant' here in place of 'client' or 'customer') DATE 8 Oct 2005 WORKSHOP AIM: • Promote each participant's expression whatever that may be. The participants will choose what they wish to focus on. • Encourage physical expression. • Encourage verbal creative expression. • Promote community support and discussion of expression and stories.
INTENDED OUTCOMES (what you expect • Opportunity to express themselves participants to be able to do by the end of creatively through movement, voice, the workshop) and creation of strong images. • Opportunity to voice their perceptions of other's creations both objectively and subjectively. • Opportunity to perform their creations for others. • Experience of working collaboratively.
RELEVANCE TO OVERALL PROJECT Workshop should provide empowerment to OBJECTIVE (how does this workshop client group as a result of release, escape, develop your project objective?) support and ownership of creation.
[1. WARM-UP
Name of activity: Balancing Act Aim: A nice easy warm-up which does not depend on verbal communication. Megan Faye Schutt 11
Materials: Relaxing clothes would be great, but nothing in particular. Leader: CR Shape (how the space is used): Length and width.
Instructions:
I will fuse together a combination of Viewpoints and Lecoq techniques for our warm-up. We will begin with easy movement around the room, trying to "Balance" a piece of wood in the middle. We will then morph this into an interactive exercise where the group freezes while they look at another person. What does the physical story tell between these two individuals? Discuss your observations. Repeat.
Red Flags (things to look out for):
Unwillingness to participate may be an issue. If someone starts to struggle, one ofthe facilitators can check in with the participant and see ifthey need to sit the exercise out. Also, active participation by the facilitators will show that the clients aren't being judged.
[2. MAIN ACTIVITY A (50 minutes) Name of activity: Images Aim: To use Boal's image work to physicalize in tableaux form the participant's ideas, thoughts, feelings, desires, etc. Materials: Paper and pens. Leader: RP Shape (how the space is used): 2 groups of 3-4 participants with 2 two members participating in exercise. A large open playing space to enable groups to work without disturbing each other.
Set-up (any introductory remarks/questions to the group):
You will be dividing into groups of 3 or 4 and working together on with one of us in your group after we explain how this exercise works. One of us will be coming around to the different groups to assist with the process.
Instructions:
I. Describe activity: * Each member of group may use your collage as a resource for choosing a word. If you'd rather not or were not present at our last group, choose one word that means something to you. Write it down on a piece of paper and give it to me. I will be reading it so if it's too private to be worked on in here, choose something you are OK with. *Randomly choose one person to play the modeler or architect. Megan Faye Schutt 12
*1 will randomly select one word at a time to work on. *The modeler/sculptor/architect will be sculpting or making a picture of word with the othertwo people in the room and without words. *The modeler will sculpt the others into an image of this word however they see fit. This canbe realistic, illogical, symbolic, abstract, etc. *Themodeler must enter and complete the image as the opposite ofthe word in mind. He/she may make the construct to fit this idea. * The modeler can mirror, manipulate by sculpting the actors with hands, showing facial expressions, etc. No words should be used during this process. * Illustrate exercise through the team.
2. First Stage *Each group shows their images to others one at a time *Leader asks audience for objective comments. (Subjective comments are acceptable, however everyone must keep in mind that everyone will have their own subjective interpretations and only the objective interpretations will be in use in this project). Again, this should not dissuade subjective ideas or in anyway invalidate them. For clarification: Objective comment is: "1 see this hand here and hislher head turned in that direction" Subjective comment is: "To me, that looks like he's mad, glad, etc."
(Facilitators should record discussion and ideas regarding images presented)
3. Second Stage Entire group forms one image taken from all and containing essential ingredients of all. Must choose one image of center character (portraying opposite of idea) Choose the one that encapsulates all (not "best" or "prettiest"... just the most complete). You can also choose two characters or versions that are essential to that of weakness. Other characters will then place themselves according to what they thought were the essential elements of all group images.
(Facilitators must verify that each member identifies, recognizes, or feels a resonance with the characters they are portraying.)
4. Third Stage (This step mayor may not be put into action based on progress ofthis project) *All characters must utter the thoughts the character (not the actor) is thinking uninterrupted. It is difficult to speak without thinking, but we ask that you do that to the best of your ability or for as much as you think this character is experiencing. (Approximately 3 minutes) *Each character takes hislher tum to speak their words. (Approximately 1 minute)
(No movement should take place during this part ofexercise.)
5. Fourth Stage Megan Faye Schutt 13
(This step mayor may not be put into action based on progress ofthis project.) * Each character still unmoving can engage in dialogue with others. (Approximately 3 minutes)
6. Fifth Stage * In slow motion and with no words or utterances, the actors must attempt to show their desires. (Approximately 3 minutes)
7. Sixth Stage Discussion with all regarding discoveries, thoughts, feelings, realizations, etc.
(Depending on time, the whole process begins anew with new protagonists and new words.)
Red Flags (things to look out for): 1. Is any participant uncomfortable with the work? Strategies: 1. Check with TP directors with respect to suggestions. 2. Allow participants to observe if necessary (However, make sure you emphasize that full group participation is key to the safety and support of the entire group. Under no circumstances do we want you to compromise your comfort). 3. Modify activity to make participants more comfortable. 2. Is any participant too close to the story being portrayed? Strategies: 1. Again, assistance from TP directors. 2. Option for participant to leave workshop ifnecessary. 3. Option to have group discussion with participant with director's assistance and go-ahead. 3. Need one group leader to give signal regarding time for wrapping up workshop.
[3. CLOSURE/COOL-DOWN Name of Activity: Deep Stretch with Music Aim: To return the individuals to a comfortable, neutral place. Materials: None. Leader: MS Shape (how the space is used): Seated in chairs in a circle formation.
Instructions: Ask participants to find a quiet place in the room and sit with their eyes closed. Lead them through a few deep breaths. Ask them to reflect on that they have just experienced. After approximately two minutes, ask them to open their eyes and come back to sit in the circle. Lead a brief discussion about personal experiences and observations. Thank the participants for their generosity and good work. Megan Faye Schutt 14
Red Flags (things to look out for):
Shy or self-conscious participants. Participants emotionally affected by today's work. Try to be aware of where they are and check with Program Coordinator afterwards if someone needs additional attention.
\ Megan Faye Schutt 15
THEATRE 987.02: MFA OUTREACH & ENGAGEMENT Megan Schutt Dr Valerie Kaneko Lucas-Instructor Workshop Three
WORKSHOP TITLE Exploring Stories WORKSHOP TEAM MS,RP,CR
PARTICIPANT GROUP TP (Note I am using 'participant' in place of 'client' or 'customer' here as this was the center's preferred usage.) DATE 18 Oct 2005 WORKSHOP AIM (what you want to accomplish) • To stimulate exploration of personal stories. • To allow participants to tell stories they want to share. • To explore potential scenarios for Hidden Voices. INTENDED OUTCOMES (what you expect At the end of the session, we anticipate participants to be able to do by the end of the that participants will have: workshop) • Had the opportunity to express opinions and observations. • Explored personal stories through an informal interview process. • Worked together to tell a story without using words, and by adding text. RELEVANCE TO OVERALL PROJECT Will explore images of personal OBJECTIVE (how does this workshop develop importance and provide opportunities your project objective) for clients to share those personal stories in both a verbal (interview) and dramatic way.
[ 1. WARM-UP - (10 minutes)
Name of activity: Sound Circle Aim: Raise energy, get people out of their heads. Materials: None needed. Leader: RP Shape: Everyone in a circle facing each other. Megan Faye Schutt 16
Set-up (any introductory remarks/questions to the group):
This is a very silly and fun game that gets you thinking, moving and working as a team. It doesn't matter what you do as long as you follow your first impulse. There's no way to do it wrong!
Instructions: Sound Circle
How it works: Everyone stands in a big circle. One player starts the game by making a movement and a sound to their neighbor to the right. The neighbor immediately imitates the gesture and passes it to the next person. After the movement makes its way back to the person who started it, the next person does a different movement and sound. This continues until everyone has created a movement and sound.
Red Flags (things to look out for):
Participants feeling self-conscious. Clients not participating in the game.
[ 2. MAIN ACTIVITY A (40 minutes) Name of Activity: Scene Development Aim: To explore scene ideas with client base. Materials: None needed. Leader: MS Shape: Open area, observers seated at one end.
Set-up:
We will be continuing the work we started last Tuesday. Please take a piece of paper and write out a different word from the one you chose last week. This word should be about something you care about and is important to you.
Instructions: (instructions modified and expandedfrom RP workshop on 10-11-15.)
1. Ask participants to write out words that are important to them. Ask them to think about what we did last week and let that influence their ideas. We will be creating more images based on the words. 2. Divide into two or more groups of three. a. I will randomly select one word at a time to work on. b. The modeler/sculptor/architect will sculpt or make a picture of the word with the other two people in the room and without speaking. c. The modeler will sculpt the others into an image of this word however they see fit. This can be realistic, illogical, symbolic, abstract, etc. It doesn't have to make sense to anyone but the modeler. d. The modeler then will enter and complete the image as the opposite of the Megan Faye Schutt 17
word. * The modeler can mirror or manipulate by sculpting the actors with hands, showing facial expressions, etc. No words should be used during this process. Do not touch the people you are sculpting unless you askfor permission first. -illustrate exercise through the team, depending on who is present at the workshop. Ifpeople were present last week, less time can be spent on directions. 3. Each group shows their images to others one at a time. 4. Director (MS) asks audience for objective and subjective comments. For clarification: Objective comment is: "I see this hand here and hislher head turned in that direction." Subjective comment is: "To me, that looks like his mad, glad, etc." 5. Ask observers what stories they see starting to emerge. 6. Ask those showing the image to give three facts about the character they are portraying. Emphasize that the character isn't them, just the person they think would be in this story. 7. Ask participants what they think happened right before this picture a. Allow both performers and audience to share input. b. Ask if participants "want to see how this story would go," and if participants are comfortable, let them make up some dialogue and movement to tell the story. If participants aren't comfortable acting, they can just talk about what they think should happen. 8. Repeat directions for #7, focusing on what happens after the initial picture. 9. Repeat this exercise as time and response permits.
Red Flags (things to look out for):
Self-conscious participants. Stories becoming too intense for vulnerable participants.
lO-MINUTE BREAK
[ 2. MAIN ACTIVITY B (20 minutes) Name of Activity: Interviews Aim: To conduct informal interviews with participants about their experiences. Materials: None needed. Leader: MS Shape: As needed.
Set-up:
Tell participants that we are interested in taking a few minutes to talk about their individual experiences, ifthey want to share. Ifthey don't want to talk about themselves, they can always ask us questions about the process for Hidden Voices or anything they Megan Faye Schutt 18
are curious about. Make it clear that we won't use specific stories without checking first, and things like names will be changed to protect anonymity.
Instructions:
Split off into small groups, each of us (MS, RP, CR, VKL) with one or two participants. You can go anywhere you want to talk (living room, dining area, smoking area). You have 20 minutes (will depend on the time remaining), to talk. We will meet again in the dining area to wrap up the session at approximately 3:50 p.m.
Red Flags (thing~ to look out for):
Participants feeling pressure to speak. Concerns about safety or anonymity. Storytelling getting out of hand emotionally. Make sure the clients well-being is always taken care of.
[ 4. CLOSURE/COOL-DOWN - 10 minutes Name of Activity: Reconnect with Group Aim: To cool down and connect with each other and the days work. Materials: None needed. Leader: CR Shape: Participants seated in a circle.
Set-up (any introductory remarks/questions to the group):
Thank them for their hard work and participation. Ask them to close their eyes and think about the work today and in the previous sessions. Afterwards, have a discussion about experiences and ideas that came up. If this is the last session, let them know and invite them to the showing.
Red Flags (things to look out for):
Shy or self-conscious participants. Participants emotionally affected by today's work. Try and be aware of where they are and check with coordinator afterwards if someone needs additional attention. Megan Faye Schutt 19
Student Self Evaluation of Workshop Form-Workshop One
Part 1: Your Name: Mezan Schutt Team Members: MS, RP, CR Workshop Author: CR and RP Date: 10104/05 Venue and Participating Group: domestic violence shelter in central Ohio, 4 particioants
Part 2: Workshop Intended Outcomes: 1: Thoroughly 2: Mostly 3: Slightly 4: Scarcely Clarify specifics ofoverall X project to participants (we will be the first group to visit TP). Establish secure foundation for X working together. Clients will begin the process X of self-reflection through artistic means. I Clients will feel some level of X comfort expressing themselves to the team either verbally or via an art proj ect.
When looking back at the workshop, what evidence do I have that our intended outcomes were achieved? At the beginning ofthe session, I attempted to answer questions the participants asked, but experienced some difficulty in answering those questions. I was incredibly nervous and was worried that I would ruin the whole experience by saying the wrong thing. Also, I wasn't exactly clear about what the project was going to end up being. My worries led to me being a little muddled and hard to understand at first. However, the rest ofmy group helped clarify some of my answers and we moved into the main activity. In some ways, I think my nervousness may have helped.
It made me vulnerable, which in some cases can lead to honest moments. Did we Megan Faye Schutt 20 establish a clear foundation for working together? It wasn't clear at the end ofthe first workshop, but the success we experienced in the following weeks spoke to a strong foundation. The collages were a success. We ended up spending more time working on them than originally planned, due to the interest expressed by the participants. The group moved outside and worked while they smoked and talked, helping each other find specific images. All but one participant shared their collage during the discussion, and all of the women gave us the collages to keep. Judging from the responses of the participants, I felt that the workshop was appropriate and served as a clear starting point for the work of the next few weeks.
I facilitated an informal introduction and basic overview ofthe Hidden Voices project to start things off. I was nervous and rushed things a little bit, which may have led to the nervousness I sensed in the participants when we started. CR began leading the participants through the visualization portion of the workshop while still seated in a circle. This wasn't the way the exercise was planned, but CR made this adjustment based on the fact that the floors did not appear to be clean and he thought they'd be more comfortable where they were already seated. Most of the participants weren't willing to close their eyes while going through the images. I'm not sure if this was due to the circle formation or a need to see what was happening around them to feel secure. This led to a sense of self-consciousness or insecurity that I was very aware of as a participant and facilitator. However, the participants appeared to be willing to try the exercise anyway.
One resident became emotional during the first portion of the exercise. She stayed for only the first part ofthe exercise and returned later to make a collage. After a few minutes, she asked to be excused and left again. She returned later to ask a staff member Megan Faye Schutt 21 a question about her daughter. We learned later that she had only arrived the day before and was there because she was being threatened by her daughter's abusive husband. Her daughter was in another part of the building trying to secure a civil protection order. She was clearly having trouble adjusting to her current situation and wasn't ready to share what she was experiencing with us.
!articipants were willing to share their work, with only one exception. All the participants gave their collages to us at the end ofthe day. The collages worked as well as sharing the work outside. CR seemed to have some success engaging the participants in discussion in the smoking area. I was initially worried about sticking to the time frame of the workshop plan, but think it was smart to be casual about time and expectations while allowing the women to work on their collages outside. I feel that what we did was a simple exercise with realistic expectations. We asked the participants to explore something personal in a safe environment. Hopefully, it was a good Introduction to the work to come.
There were some aspects of the work that were less effective. I think the visualization work was a little awkward with everyone sitting in a circle. If I did it again with a small group, I would let people get comfortable in the T.V. room. I think it's important that the clients have an opportunity to make choices about their space so they can be comfortable in a personal exploration. I know that is what made the collage part of the exercise successful. I would also try to engage the clients in more everyday
conversation. I think the key to finding character and story here is in the people.
For next week, we need to figure out a way to do floor work without lying on the
dirty floor. Clarify how to frame personal exploration in the Boal work so that it's safe. I Megan Faye Schutt 22 also need to find an "in." Unlike CR, I can't smoke, so how can I connect to these people without seeming pushy or desperate? We also need to take more responsibility for watching the clock and finishing on time. Both the participants and the facilitators survived the first week, now we need to make sure we keep moving forward.
After discussion, we have decided that we will continue to work in this same vein.
I feel th_at we built a good rapport with the women and want to keep that while pushing the level of personal involvement a little bit. RP made a good observation that they are almost like children, more comfortable with making pictures than writing. Having the opportunity to make pictures seems to be comforting because it is easy and can be mindless if they need it to be.
Part 3: CREATIVE DISCOVERIES 1. Five Images:
1. A magazine image of a prisoner in an orange suit. The participant has tom
a head from another image and pasted it onto the prisoner's body. This
represents her abuser.
2. Many of the women chose images of beaches and water to illustrate the
image of a safe place. One image, of a door leading from a laundry room
to an island paradise seemed particularly evocative.
3. There were also many images of mountains and the outdoors in the
collages.
4. One participant chose a pretty blonde woman from a magazine ad to
represent her in the collage. She then used crayon to draw in a bruised
cheek. Megan Faye Schutt 23
5. During the visualization portion of the exercise, I noticed a line of legs
crossed with one foot twitching rapidly. The women were all
uncomfortable sitting in a circle facing each other and not talking.
2. Five Phrases:
1. "My name is ... My name is... My name is..." A nervous chorus of
participants and facilitators introducing each other at the beginning ofthe
seSSIOn.
2. "Man's Best friend." A phrase cut out of a magazine and placed next to a
bottle of beer from another ad.
3. "35 years and still going strong." An advertising slogan for Krazy Glue
placed on the same collage that seemed to imply a marriage could be held
together with the product.
4. "I want to go to Seattle someday." A comment from a participant in
response to another woman saying she was from there. To her Seattle
seemed to be beyond reach but something to hope for. I had the feeling
that the woman who said this had never been far from her home in rural
Ohio.
5. "I've only been here a day and you already know I'm crazy (major
paraphrase)." A comment made by a woman here because her daughter is
in an abusive relationship. She was barely holding it together and left
before the first exercise was complete. Megan Faye Schutt 24
6. "Anyone who's married and has kids gets it." A comment made during the
smoking break trying to explain why Desperate Housewives is so popular
with the women we were working with.
3. Three events/stories
1. Seeing a woman who is at the shelter because her daughter is in an abusive
relationship. She appears to be in shock because she doesn't feel she
belongs there. The abusive spouse is now threatening her in order to
manipulate the daughter.
2. A woman trying to protect and comfort all those around her while not
willing to open up about her own situation. She did not share her own
collage, but gave it to us at the end of the session.
3. A search for a photo of a blond male child to put in the collage. Everyone
started to help because it was important that the child be recognized.
4. The discussion of popular television programs. Desperate Housewives and
Gray's Anatomy are favorites.
4. New Discoveries:
1. These women really take care of each other.
2. It's important to be able to cry.
3. The parents and extended families ofDV victims can be at risk too.
4. Most of the people we met with are from Marion and have lived there their
entire lives. One woman is here from Arizona and trying to return. Megan Faye Schutt 25
5. For the next group, trust yourself and be honest. Smoke breaks are an
absolute must. Try to not complain too much about living in Ohio, the
state is the participants' home. Megan Faye Schutt 26
Student Self Evaluation of Workshop Form-Workshop Three
Part 1: Your Name: Megan Schutt Team Members: MS, RP, CR Workshop Author: CR and RP Date: 10104/05 Venue and Participating Group: Turning Point, 5 participants
Part 2: Workshop Intended Outcomes: I:Thoroughly 2: Mostly 3: Slightly 4: Scarcely Opportunity to X express themselves creatively through movement, voice, and creation ofstrong images. Opportunity to voice X their perceptions of other's creations both objectively and subjectively. Opportunity to X perform their creations for others. Experience of X working collaboratively.
When looking back at this workshop, what evidence do I have that our intended outcomes were achieved? In general, the workshop went extremely well. Participants really opened up to the exercises and seemed to be excited about what they were creating.
Due to the success of the previous weeks workshop, the workshop leaders and the participants were more comfortable around each other. A sense of trust and honest sharing was established by the end ofthe workshop. The images created in the tableaux were very clear and the participants started talking about story and meaning almost immediately. I was surprised at how much the group enjoyed the work. There are a Megan Faye Schutt 27 number of factors that could have contributed to this result. In addition to the ease created by the previous week's workshops, the participants had a great deal of creative control and were able to position CR and myself. There was a lot of laughter and the collective attitude was very open and willing to risk. Due to the participants willingness to share, it was fascinating to see how many images were repeated even though the sculptors couldn't see each other while they were working. Participants and facilitators worked together and to create images and to articulate what might be happening in the tableaux.
There wasn't much of a distinction between subjective and objective comments, but we decided that didn't really matter. The women were talking and that experience was far more valuable than trying to elicit specific types of responses. Although most of the workshop was nonverbal and highly personal, with little sharing of details, I was able to observe several moments that provided great insight. Comments like those made by "A" about how a certain tableau created by someone else was reminiscent to her own life helped illustrate the reality of these women. I was also slightly shocked by the ease of talking about things like drug use and "coming down." As a person, I know very little about those things and what I do know has come through a filter of the media. For the participants, it seemed clear that the harsh realities of drug use exist in tandem with domestic violence.
Judging from the responses ofthe participants, this workshop attended to the creative and emotional needs of the group. For the most part, the responses we received were extremely favorable. At first, the women seemed a little nervous, but once we started the main activity, they started to enjoy themselves. People were laughing and felt comfortable enough with the situation that they started to make jokes and banter with Megan Faye Schutt 28 each other. At the end of the session, they commented on how much they enjoyed themselves compared to what we did the week before. One participant even commented that we should have switched the order of the exercises. In the discussion that occurred during the drive back to Columbus, the team decided that the order should have stayed the same. The second workshop would not have been nearly as successful without experiencing the first one the week before. One area of concern was the warm-up. The activity made several participants anxious. They had trouble understanding the parameters of the game and the logistics of balancing the "imaginary board" in the space.
Their discomfort seemed to reflect a need for the prompt to make sense logically; it was difficult for the participants to make the leap into imaginative play. In the main activity, the instructions RP delivered were coupled with a clear physical example, and I feel that
led to the difference in response during that main activity. At the end of the session, "C"
made a wonderful observation, likening the anxiety the warm-up game produced with her
feelings about her current situation. For her, domestic violence is like trying to keep your
balance when the wrong move can have extremely negative repercussions. In the main
activity, the women found a sense of play and release through creating dramatic pictures
and talking about their observations. The wonderful visuals they created as well as the
laughter in the room made the day a success.
In general, I feel the workshop was successful. We were able to see how these
women interact with each other and what ideas are most important to them. I was very
aware of a sense of directness or a blunt approach to harsh subjects like drugs and abuse,
probably because they are part of their life experience. There is also a great amount of
care taken with each other and the children in the shelter. The women are in a sort of Megan Faye Schutt 29
Limbo where they are between where they have been and where they will end up. They had no trouble creating strong images based on words and then talking about them. The participants wanted to jump to text very early. I think having a voice verbally and physically is very important to this community and they seemed to get a lot out of the exercise. In looking back at the Matrix of Needs created for the TP Project by the various partners, we allowed the participants "to be able to voice opinions in a safe, non-coercive atmosphere" and "to have an outlet for self-expression." Also, they had fun. In fact, a woman who came in late joined us even when she didn't have to. It was clear that something exciting was happening in the room and she wanted to be involved. Even though she was a little nervous, she still participated.
It took a while to get comfortable with the first exercise. There was some confusion about the parameters of the exercise and some of the participants were extremely worried about doing the exercise correctly. If doing the exercise again with this client group, I would make sure I was able to explain the parameters very clearly. I would also try to be aware of confusion and to be clear about what specifically is creating the confusion. In this workshop, the participants made a strong realization because of the discomfort, but with a different group the outcome may have been quite different. The client group could have become alienated from the facilitators. In this case, the participants were able to figure their confusion out and that led to a great observation. We were fortunate that happened. I feel that the rest of the day went very smoothly would try to replicate that response if I did the workshop again with a different group of people.
During the ride back to Columbus, we discussed continuing this work and moving on to scene work in the next session. Since the participants reacted so favorably this week Megan Faye Schutt 30 and expressed an interest in the exercise, we decided to modify our next plan to reflect that interest. Time was also an issue. We almost ran out of time because it was going so well. In the plan for the next workshop, I will attend to that possibility. We have decided to continue with this exercise, building towards scene work and development. The participants seem ready to make that leap and we want to keep the direction moving forward in the time we have left. We also discussed the possibility of conducting interviews with some participants since the three of us have developed a comfortable rapport with the women we've been working with. We've decided next week will be our last visit to TP and need to make sure we say thank you and good bye properly. We may take two cars next week so that some of us can stay a little longer for interviewing purposes and those who need to return for rehearsal will still have their dinner break. We will create thank-you cards and bring something to eat.
Part 3: CREATIVE DISCOVERIES
1. Five Images:
1. Little girl hiding behind her mother's arm eating a Go-gurt©. She joined her
mother because she was afraid to be left alone. She is afraid of strangers and
won't speak to them.
2. Women sitting on the back porch looking through pictures. The woman who
provided the pictures tears one up. The image is of "that bitch." They pass the
pieces around until one woman quietly throws the pieces away.
3. Tableaux with three figures- Woman hitting vein, Pregnant Woman sitting on
floor with her feet in front of her, rubbing her belly, Man with back turned sitting
in between them, head in hands. The word being illustrated was dependency. Megan Faye Schutt 31
4. Tableaux with three figures- Funeral. One Woman with hands clutched is
standing over a 2nd Woman who is kneeling with her hands clenched. A Third
Woman stands to the side with a neutral body.
5. A pregnant woman smoking a cigarette while sitting on the back porch. No one
comments about the possible dangers to the baby's health.
2. Five Phrases:
1. "That's just like when I was a kid... My mom's getting high, I'm always
pregnant, and Dad's lookin' the other way."- "A" reflecting on a tableau created
by another participant. (See Image #3.)
2. "That's just like my life right now. Ifyou take a step in the wrong direction..."
-"C" commenting on the experience of the participating on the warm-up and her
fears of not doing the exercise correctly.
3. "I'm trying not to Iaugh."- Comment made by "C" during the warm-up while
holding back hysterical laughter/tears.
4. "It's 'cause of"B's" fat ass ..."
"That's verbal abuse."
"Oh. Sorry."- Dialogue sparked by a comment made by "B" towards "A",
meant as a joke. It was an example of how verbal abuse is simply a part of many
ofthese women's lives. "B" was not aware that she was abusive until there was
attention called to her comment.
5. "This is goofy."- After the session, VKL commented that this was a particularly
American statement that she had never heard before. Megan Faye Schutt 32
6. "There's barbed wire on the fence at the shelter in Arizona."- Comment made
by "A" that gave us a lot of potential information about her history. The comment
came up during a discussion about the new fence being constructed in the
backyard.
3. Three events/stories:
1. Woman eagerly sharing pictures of her teenage daughter'S homecoming dance.
In the pile she comes across a picture of the woman she refers to as "the bitch."
She tears that photo in half and passes the pieces around the circle.
2. Participants talked about abusers coming to look for their partners. The stories
talked about times when the men would climb over the back fence and try to
break in that way.
3. Little girl so traumatized by her situation that she won't talk to people she
doesn't know and needs to keep her mother within sight at all times. The shelter is
a safe place for her but doesn't feel that way because of her displacement.
4. New Discoveries:
It's important to explore the idea of verbal or mental abuse. There may be no visual clues such as bruising, which leads to the event being discounted or rationalized.
Comments about intelligence, weight, employability, etc. can be used to control someone.
In the car, VKL told us a story about a middle-class case where the husband controlled his wife's food intake to help her be attractive and "healthy." He would lock the refrigerator and control what she ate in public as well as at home.
Participants enjoyed being more active physically and were really glad we didn't play any "awful music" ... They really opened up and were smiling and laughing. Megan Faye Schutt 33
5. Participants are ready to talk about themselves and the way they see the world. The trust level has increased exponentially since last time. They talked a lot about how much they liked seeing the real "us" and not just college students leading a workshop. Megan Faye Schutt 34
Student Self Evaluation of Workshop Form-Workshop Three Part 1: Your Name: Megan Schutt Team Members: MS, RP, CR Workshop Author: MS Date: 10/18/05 Venue and Participating Group: domestic violence shelter in central Ohio,S participants
Part 2: Workshop Intended Outcomes: 1:Thoroughly 2: Mostly 3: Slightly 4: Scarcely Had the opportunity X to express opinions and observations. Explored personal X stories through an informal interview process. Worked together to X tell a story without using words, and by adding text.
When we reached the venue, it became clear that there weren't going to be many participants. The shelter was full but most of the residents were at various appointments.
At first, the Resident Activities Director thought there would be a large group, but as only three women made their way to the common room, the plan changed. It was immediately clear that the women weren't ready to do an overtly physical exercise. They were more reserved than when we were there the week before. Apparently, a participant's partner showed up at the front door and threatened to shoot himself the night before. The Megan Faye Schutt 35 couple's children were present at the incident and, while no one was hurt, people were a little edgy. After talking to the Center Director and Resident Activities Director, we decided to leave the formal workshop plan and simply talk. At first, the plan was to do individual interviews, but as I articulated our desires, the Program Coordinator and participants started to talk. The session ended up as a sort of informal group meeting.
Participants seemed reasonably comfortable with the formation and we had an extremely fruitful discussion about personal experiences, attitudes towards the abusers, and the need to protect the children in these relationships. In looking at the Intended Outcomes in the
Workshop Plan, I feel that two ofthe three were extremely successful. The participants
. were given the opportunity to express opinions and observations through a very informal discussion. The Program Coordinator spent some time leading the discussion with questions dealing with the work the shelter does with the residents. The workshop leaders were also able to ask questions and share personal insights. The participants had a voice and really opened up about their experiences, struggles and frustrations. We did not follow the original plan, so did not use improvisation and tableau work to explore possible story ideas. As stated in the Matrix ofNeeds created for the TP Project by the various partners, we allowed the participants "to be able to voice opinions in a safe, non coercive' atmosphere" and "to have an outlet for self-expression." The change in plan ensured that the client's best interests were considered and respected.
Judging from the responses of the participants, this workshop was what the client
group needed on this specific day. The workshop was appropriate for the needs of the
participants. They opened up about their feelings, fears and desires. Several participants
became quite passionate because someone outside of their situation was listening. "C" Megan Faye Schutt 36 opened up about her current relationship with her husband and how difficult it was to leave because she didn't know what he would do to her and her children. She also began the session by talking about how she had secured an apartment earlier that day. The apartment was a great achievement and it meant she would be leaving the shelter soon.
This led to a discussion about how there would be a stream of bad days and then one or two good ones that made it all seem worthwhile. "C" also talked repeatedly about the need to take care of her children and how they are a factor in staying in or leaving an abusive relationship. Her input was incredibly useful when looking at the relationship between Mary and Nessa in the Hidden Voices script. The struggle to balance concern for yourself and concern for your children came into focus for me. The focus on your own well-being seems to become secondary when there are children involved. Another woman, "D," became very agitated, repeatedly snapping at the workshop leaders and interrupting when other participants were talking. At one point, RP asked her why she was angry. Her response was that she had an "anger problem." This response was honest with no real apology. She tended to dominate the conversation, needing to justify her actions and continued relationship with her ex-husband. She is still married to him and is friends with him and his girlfriend of two years. They are no longer living together. Her current boyfriend is also abusive. The cycle of abuse is continuing, even after leaving one abusive relationship.
At the end of the session, we raised the question of what the participants would like to see on stage. There was an overwhelming response for things to be real and violent, not sugar-coated. The participants want it to be uncomfortable for the audience, in the hopes that experiencing the harsh reality of domestic violence, there can be some hope for Megan Faye Schutt 37 change or recognition. They also wanted an exploration of physical and mental abuse, where the violence is realistic and disturbing. Based on the responses of the participants, I feel the discussion was a success. The participants seemed really willing to talk about their opinions and experiences.
There was a little bit of awkwardness and hesitation as we decided to forego the workshop plan. This discomfort affected both the participants and the facilitators. Until we really started the conversation, the atmosphere was a little strange. In the confusion of shifting gears we didn't do a formal introduction. At the beginning of the session, we knew most ofthe participants, but several people we hadn't worked with joined us after we had begun. If we had taken a moment to make sure everyone knew each other and why we were there, it would have made everyone feel a little bit more comfortable. I am also a better listener than generator of questions. In hindsight, I would have prepared a bank of specific questions to have convenient. Other than that, the casual sense of the session seemed to work in our favor.
It was our last session as a group. We will not be going back. Since it was the last trip, we took a thank you card for everyone who participated as well as seasonal cookies and donuts. The food was a great idea. It created a sense of ease and comfort in the room.
It was also a really good way to say goodbye. During the drive back to Columbus, we decided that our plan would be as follows: "We are meeting tomorrow at 12:30 to debrief with VKL. Thursday, we will meet to develop ideas for the Base Day showing. Initial
Ideas: Groundhog Day- repeating behavior, then leaving and not being able to predict anymore. The devil you can see vs. the devil you can't see." Megan Faye Schutt 38
Personally, the most significant discoveries from the final workshop were in the bits of stories we started to hear. Up until that point, I had not heard much detail about specific incidents or the relationship between these women, their abusers and the children in these relationships. The question was raised about why someone would stay in an abusive relationship and quite often it comes down to the children. "DO' only left when she was fighting with her husband and saw her young daughter watching them silently.
She did not want her daughter to grow up thinking it was all right to be hit. This was an interesting paradox we started to explore where the woman will work to protect her children from violence, but takes no action for herself and doesn't expect anyone to protect her. "CO' opened up about the terror she felt when her husband broke into the house she was staying in while she was sleeping. She was more afraid of that than when she was with him. When they were together, she found she was generally able to read his moods and attempted to control or manipulate them to her favor. There was a woman we hadn't worked with before who was very quiet and reserved. She seemed very different from the rest of the women we've been working with, possibly more educated or from a different socioeconomic class. She sat and listened with her hands clasped, contributing only a few short comments.
I feel that the information we gathered during this session will help create complex composite characters as well as elucidate some of the complex psychology that goes into domestic violence. The conversation also made me start thinking about patterns ofabuse in my own experience. I'm not someone who has experienced much ofthis firsthand, but both of my parents, their siblings, several close friends, and my grandmother all experienced some form of emotional or physical abuse in their lives. I Megan Faye Schutt 39 care deeply about all of them, and in one case, I care about the abuser as well. I want to honor those stories and make sure we look at the good that can come out of survival in all its forms.
Part 3: CREATIVE DISCOVERIES
1. Five Images:
1. A line of women sitting in chairs, legs crossed and shaking. As the
conversation becomes more heated, the legs start vibrating more vigorously, and
the fingers that would be holding cigarettes start rubbing together absently.
2. Story of a fistfight in the living room between a husband and wife with young
daughter watching silently.
3. Little girl in high chair drawing with black ballpoint pen on white paper. She is
in a circle of adults talking about horrific abuse and she seems oblivious to the
conversation.
4. Blue stool propping open bedroom door. This is the first clue "C" had that her
husband had been in the house and her room while she was asleep.
6. Dress hanging from broken light fixture in an attempt to bum down the house.
Symbolic nature inherent in hanging a dress of the woman you are abusing as if it
is her. It implies ownership and power, similar to an effigy.
7.Groundhog Day- Bill Murray film where he lives the same day over and over
again until he gets it right.
8. The abuser slowly keeping the victim away from friends, family, and additional
support systems. The victim's sudden realization that they are isolated and alone.
2. Five Phrases: Megan Faye Schutt 40
1. "You made your bed, you lie in it."- Client's mother told her this when she
went to her for help with abusive boyfriend as a teenager.
2. "I have anger issues." - "D" said this in response to RP asking why she
seemed "so angry and if there was anything that needed to be attended to."
3. "My ex and 1 are friends. He's a good father, he just wasn't a good husband."
Client's response when explaining why she is still friends with her ex and allows
her children to be around him. They are technically still married.
4. "No sugarcoating."- Response to question about what clients would like to see
in a play about domestic violence.
5. "I'm going in seven days, or eight. .. (nervous laughter)."- "B" saying this about
how she is leaving the shelter to go back to Arizona. She has been at the shelter
for six weeks and still has a desire to visit her husband in jail. She is clearly not
ready to start over yet.
3. Three events/stories
1. Deciding to leave abusive husband when, in a fistfight, the woman looks over
and see young daughter watching silently.
2. The need for these women to protect their children, but not themselves. A
feeling of being worthless.
3. Story about "C's" scariest moment being when her estranged husband broke
in and attempted to bum down the house she was staying in by hanging dress
on a light fixture. The worst was that he was in the house and could have hurt
or killed her or children and she wasn't even aware he was there.
4. New Discoveries: Megan Faye Schutt 41
Participants are vocal about the need to be honest and real about the realities of
D.V. "It's more common than people think, and maybe ifpeople see this onstage, they'll be able to see it in themselves." Be honest and open to changes in the plans ... You may get some good information,
Megan Faye Schutt 42
Individual Project Evaluation for Hidden Voices
1. Venue Overview:
TP "has the social responsibility to respond to the needs of victims of
domestic violence by providing shelter, counseling, advocacy and general support
services and to identify and confront the causes of domestic violence.,,6
TP is a domestic violence shelter located in central Ohio. As stated in their mission statement, quoted above, the shelter provides services to victims of domestic violence. These services include providing a place to go in times of crisis, but also include services hoping to circumvent the cycle of abuse that victims are often a part of.
After visiting multiple potential community partners in the Columbus area, the MFA class, under the guidance of VKL, decided to create a performance in collaboration with the shelter. From the first visit, which I organized during spring quarter 2005, it was clear that our contacts at TP were excited about the possibilities and felt good would come out ofour collaboration. Our preliminary contacts, PR and PB, felt a public performance drawn from our experiences working at TP could raise awareness and perhaps create change for domestic violence victims in Ohio.
TP is a unique organization, providing help and support for female and male victims of domestic violence, as well as their children. The following bulleted statements are drawn from the organization's website and detail the services they provide.
'-Turning Point provides victims/survivors of domestic violence and their
children with safe, secure, temporary shelter in a comfortable atmosphere.
6 Turning Point. Homepage. 2005. 16 January 2006.
-The shelter is designed to meet the victims' physical needs by providing
housing, food, clothing and personal items, as well as their emotional
needs through support services.
-The shelter also features a designated room for male victims.
-Families are provided with their own rooms with bathroom, while other
areas such as the living and dining room and kitchen are shared.
-The shelter is also handicapped accessible."?
The most important thing to remember about the physical structure is that it serves as a temporary home and safe house for victims of violent crime. The client group is vulnerable and needs a place where they can take stock of their lives and start the process of getting out of dangerous relationships.. The facility is not at a hidden location, but the address is not publicized. There are a great number of security precautions in place, and there is someone watching you at every moment within the common areas inside and outside the home.
At the first meeting, we met with PR, the resident director ofthe facility, and PB, who assists her. My first impression ofthese women was that they were vibrant, alive, incredibly compassionate, and not afraid to laugh at what they could not change. I immediately liked them. They were not overwhelmed or overly burdened by the seriousness of what they do, but weren't uncaring either. They were good people who were trying to make change in whatever way they could. They were immediately interested in the possibility of collaboration, provided that the clients' best interest was always taken into account. When the workshops started, the Resident Activities Director,
7 Turning Point. 2005. 16 January 2006.
L, was always present, helping to facilitate our work and ensuring the residents safety.
All the staff members I was in contact with were generous and supportive; good people that I enjoyed working with on the project.
2. The Client Group:
Before I started my research into the client group, I had a great deal of preconceived notions about what a victim of domestic violence would be like. In popular media, domestic violence is generally associated with a lack of education or intelligence and a history of substance abuse. To an extent, the victim is portrayed as a culprit or cause of the violence. Also, the abuser is shown as the villain, with no redeeming qualities. The relationship portrayed is generally heterosexual, with the man in the role of the abuser. In my own experiences, victims of domestic violence tended to be from a similar background as myself, but with less education. The victims also kept returning to their spouses, or left and married someone else soon afterwards. In the example I am thinking of, the new relationship was not abusive, but involved a meek man with little education and many children that needed to be taken care of. She went from one abusive relationship to another that was manipulative in other ways.
In our research, it became clear that factors that go into an abusive relationship are very complex and that each relationship is different. There are some factors, however, that all these relationships share. Abusive relationships are power relationships, where a large amount ofthe conflict comes from a need to control or assert one's superiority. The relationships are also highly complex. The abuser is not simply a "moustache twirling" bad guy, and the victim sometimes thrives on an abusive situation. One can't look at the conflict from only one angle. The psychological factors that go into an abusive Megan Faye Schutt 45 relationship, both abusers and victims, are convoluted and need careful counseling to change and adapt. Also, the cycle of domestic violence is just that, a cycle. The behaviors must be modified or changed or else individuals involved in domestic violence tend to repeat the same behaviors in new relationships. All of these factors became very important as we started to craft the characters we needed to tell the story of Hidden
Voices. The delineation between good and bad, right and wrong is not always clear-cut. I know I wanted to keep some of that ambiguity in the stories we would tell.
At our first workshop, I was not sure what the participants would be like. I was afraid they would be unwilling to participate, or that the work would trigger an emotional response in one of them that I could not handle. Most of all, I was afraid that I would inadvertently do something that would cause great harm to their psyche and ability to achieve safety and security. I was very worried about exploiting such a vulnerable group.
I was in charge of introducing my group, and the entire Hidden Voices project, on the first day. I found this incredibly difficult. I was terrified that I would alienate the participants or explain the project in a way that made it seem exploitative. Thankfully, the workshop seemed to go well and the women seemed to enjoy our group. I just needed to trust everyone involved and remember that no matter what happened, it would be all right. We would survive.
3. Impact:
Did our workshop program address the needs of the different community and university partners? I feel that it was reasonably successful. There were a great number of needs to be attended to, but I don't feel they were mutually exclusive. Megan Faye Schutt 46
Ohio State's needs included the creation of a devised show, Hidden Voices, which was to be presented as a regular part of the OSU season in the Bowen Theatre. As ofthis point (January, 18,2006), we have a working script and are in rehearsal for performances in February. We used the workshops for the generation of material and ideas that became the foundation of the working script. A second need was for a "mutually beneficial learning experience for community partners, students, and faculty." I know that I learned a great deal about how a facility like TP operates, as well as about many of the issues inherent in domestic violence. The participants in the workshops experienced a new way of looking at their stories, and seemed to be empowered by talking about their experiences creatively. I'm not sure how much the faculty has learned, but every process is different. I do feel the department is learning how to handle large-scale devised work, which is important for a program devoting itself largely to the creation of new work. The third need OSU listed was to provide "experience and training in theatre for outreach and engagement for students and faculty." I know that I understand how to tailor a workshop to a specific client group as well as facilitate sessions. I am not as clear in regards to the technical aspects of collaboration, since VKL handled most of them during the summer break, but I feel 1have a good foundation. Finally, we were to "fulfill production deadlines." This need has been slightly more challenging. In new work, deadlines regarding design and costume in particular often seem ridiculously early. It seems to me that we are trying to fit a devised process into a traditional production schedule. This seems to add stress to everyone's life. I'm not sure if I have a solution for this problem, but it does need to be addressed." I think we need to keep evaluating what it means to create new work in a university setting, and perhaps find a way to continue to
8 Hidden Voices collaborators. "Matrix of Needs" (The Ohio State University, 2005). Megan Faye Schutt 47 compromise. We cannot expect the design team to change their entire process, but they need to remain sensitive to ours as well.
The venue's needs dealt mostly with their clients well being. They specifically stated a need "to ensure its clients are not exploited." This was very important due to the sensitive nature of personal information as well as the dangers the clients face. For them, an information leak could have deadly consequences. We've attempted to create composites with the stories we gathered, to protect the anonymity of those we worked with. TP also wanted "to provide opportunities for clients to engage in creative activity."
Instead of a normal group session, where the women sit and talk about their experiences, we led them through a variety of creative activities, ranging from improvisation to cooking. Some activities seemed to work better than others, but the clients participated in everything we asked them to do. By the end of the third week, it was like talking to different people. The participants seemed to open up and want to share with us. A third
need was "to enhance the community education program via workshops and the play
Hidden Voices." In performing the script in Columbus, Marion and Mansfield, we hope
to inspire some change." If nothing else, the audience will see a piece oftheatre dealing
with issues most people would prefer to ignore. We plan on having invited guest speakers
and informational booths present to help educate the audience. There is also a possibility
that the performance may be videotaped and used as a training tool for domestic violence
shelters around the country. If that occurs, our work could reach even more communities
in need. The final need stated by TP was "to provide learning opportunities for student
9 Note: See Individual Artistic Reflection re: the cancellation of the tour. Megan Faye Schutt 48 interns." I've learned a great deal and hope to apply what I've learned in future projects ofthis nature. I also know a lot more about the issue ofdomestic violence. I0
The client's needs at TP, as stated by our contacts at TP, include the need" to be treated with dignity and respect." I hope that we treated them in that manner. Judging from their response at the end of our final session with them, they felt respected and trusted. They did not want the workshops to end. Several ofthe women came up to us and gave us hugs and said thank you. It clearly meant more to them than an average day in group. Their participation was a gift, and the play would not exist without their input.
They also needed "to be protected from exploitation" and "to be able to voice opinions in a safe, non-coercive atmosphere." This need for protection was discussed in the first conversation I had with PB. I was initially worried that we would take advantage of a vulnerable group in order to create a play. I think that the way we handled the workshops addressed that concern. We taught the workshops based on what we believed would help the participants and allowed them to share what they wished. What we observed while participating in the workshops, and more importantly, during breaks provided the raw material for our characters and stories. Finally, the participants needed "an outlet for self-expression." I think this was successful as well. The various workshops were all different and I hope that each participant experienced one that spoke to them, one that was particularly effective. II
The Team needs, as stated by the MFA actors on 3 October 2005, included a need
"for each individual to have an active voice in the creation, rehearsal and performance of
Hidden Voices." I feel this occurred. Throughout the process, VKL took great care to
10 Hidden Voices collaborators. "Matrix of Needs" (The Ohio State University, 2005). \1 Hidden Voices collaborators. "Matrix ofNeeds" (The Ohio State University, 2005). Megan Faye Schutt 49 make sure that we were all heard and that we took those ideas into consideration. At times, some input may have been neglected, but I feel a great deal of pride when looking at the working script I helped develop. It was also important that the project "create challenging artistic roles for each ensemble member, and for each member to have a say in the decisions pertaining to the assignment of those roles." I hope that this was achieved. The acting roles all require an emotional commitment to demanding material and I feel there is a good sense of ensemble. A few of the MFA's who did not express an interest in being cast, still have a great deal to do. Playing Mary is a great challenge and I am happy that I took on such a complex task. Because of the improvisation work, I feel deeply invested in my character and hope I do her justice. In the matrix, we also stated a need to "keep the process from page to stage active, without needless intellectualizing or superfluous red tape to impede it." I feel that we've attempted to do so. The work we all did to create characters during the scripting phase made formal table work unnecessary.
Finally, the project needed to "meet the requirements set by the department for the completion of the degree." Provided we all pass the written examination, I think the project meets the necessary requirements.
As I look back on my work during this project, I feel I worked well with others. I completed the necessary assignments and worked to support my workshop team as well as the larger group. I know that I am shy, and that I sometimes had trouble sharing my ideas in class or taking the lead during our placement at TP. In situations where I feel out of place or responsible for others, I often want to back away and follow someone else's lead. I need to work at trusting myself and allowing myself to take the necessary time to clarify what I want and what I feel. Megan Faye Schutt 50
4. Role of the Community Artist:
Before we started this work, I did not have a clear idea of what a community artist actually did. I had never done work of this kind. I learned that an artist can work with a specific client group, leading workshops that mayor may not directly address the issue of the community, and be a great deal of help. Art can be an escape, and sometimes that escape is needed very much. Art can also be a conduit for dealing with difficult issues and ideas. Working in the community to create art provides an outlet for expression, or a way to step away from the difficulties of personal situations, at least for a short while. At
TP, many of the clients seemed to enjoy sharing their stories and insights. Some were silent, their presence the only commentary they provided.
I feel that the role of the arts in the community is very important. Very often, theatre is dismissed as elitist entertainment with no greater social goal. It can be that, but it can also provide a platform for personal discovery and self-expression in vulnerable groups. I often think about how lucky I am that I have theatre in my life, about how much joy performance gives me. I love the idea that I can share what I love with people in my own community, and that it may help them deal with personal trauma, or that a performance created from that work may lead to a change in legislation. Now I know that big changes aren't likely, but if one life is changed or one perception is shifted because of the work we did, it will be worth it.
5. Theatrical Discoveries:
The workshops gave me a clear idea about who the people we're representing really are. They are real individuals who often came from negative backgrounds. These women were strong and vulnerable at the same time. Character realizations or ideas that I Megan Faye Schutt 51 drew from our placement include Mary's manner of speaking and dress, her shyness and need to care for those around her, and her lack of education but desire for change.
The most important realization I had in doing this work is that it is all shades of gray. The psychology and emotions I've started to explore in creating Mary are very complex and difficult to describe. Love and hate are inextricably linked for the characters in Hidden Voices. So is care and violence. The emotions are complicated and I'm still trying to come to terms with my understanding ofthe psychology that leads to and perpetuates domestic violence.
6. Recommendations:
1. Plan your introductions carefully.
2. Be ready for anything and never assume.
3. Don't be afraid of adjustment.
4. Try to avoid writing or anything that seems too "new-age."
5. Just be you at the workshops.
6. Avoid any exercises that are violent in any way.
Megan Faye Schutt 52
Individual Artistic Process Reflection: Hidden Voices
The performance run of Hidden Voices, which was February 9-19,2006, was the
culmination of an eight-month project in community outreach and education. In this essay, I am going to discuss the scripting and rehearsal process that led to eight
performances and talkbacks in the Bowen Theatre. After deciding to work with TP at the
end of spring Quarter, 2005, we started preparing for the workshops that were to form the
foundation of our research. In the early part of the quarter, we did creative response work
every week based on our experiences in Marion. These were referred to as Base day
Showings. I have discussed that portion ofthe quarter in great detail in Section B of this
portfolio, so will move on to the end of the research phase that happened Autumn
Quarter, 2005. After the workshops ended, we took the raw material we had accumulated
and sat together in Room 107, trying to figure out what would come next. Initially, we
talked a lot about the text and performance style as being non-realistic, and that is
reflected in both versions of the Director's Concept. I cannot speak for the rest of the
MFA's, but I know that I was worried about seeming melodramatic or, to be honest, a
made for T.V. film shown on Lifetime. I was concerned that our attempts at realism
would be too general; failing to do the people we were working with justice. The issue of
domestic violence seemed like it could fall into that trap very easily. Most of the creative
work we did for our Base Day Showings lived in the realm on non-realism. However, in
the last week at TP, something changed.
During my group's final visit to TP, we had the opportunity to talk to the
participant's about what they would like to see onstage. What was most interesting about
the response was that it focused on what they did not want to see. They wanted to Megan Faye Schutt 53
challenge the audience and make them uncomfortable. They did not want us to
"sugarcoat" their experiences or "pull any punches." They wanted the performance to be raw, real, and violent. They did not want the audience to be left unaffected at the end of the evening. As I sat there and listened to these women I started to understand how much having this kind of input could mean to them. I also started to see how relying too much on symbols and allusion might be the easy way out for us, and might not have the impact a well crafted realistic scene might have. I also started to realize how important honoring this request might be to our work with the women. As survivors of domestic violence, they are constantly being re-victimized; sometimes by their abusers, often by the legal
system, and countless times by people who simply don't have an understanding of how hard it is to be in a violent relationship with someone you love. Giving these women the
option to say, "I want the play that tells my story to be like this" was valuable to them. It
showed that we care about their stories and that we are really trying to hear what they
have to say. As facilitators, we were able to work with the residents, honoring their
requirements as specified in the Matrix ofNeeds. 12We listened to what they had to say
and empowered them by respecting their opinions and experiences. We were truly
collaborators with the residents, not simply performers stealing their stories to create an
exciting piece of theatre.
One of the most challenging things about taking the work we did from the
workshops and placing in onstage was the great sense of responsibility I felt for these
people's stories. I've never done work where you create a dramatic event out of someone
else's experience. The closest I've come to this was in Mandy Fox's primary source
dialects class. In that course, we attempted to recreate another person's speaking pattern
12 Hidden Voices collaborators. "Matrix of Needs" (The Ohio State University, 2005). Megan Faye Schutt 54 as closely as we could. We tape recorded the interview subjects and transcribed what they said. Their words became our script. I was so nervous that my interview subjects would be hurt or feel misrepresented by what I'd done, if it was not good enough or created a caricature, that I did not invite them to the final performance. I felt that I had to succeed or it would be a disservice to those who had trusted me with their stories. I felt something similar in the creation and performance of Hidden Voices. As an actor, I experienced stage fright to a degree that is rare for me. I was particularly self-conscious when people from the commissioning body were in the audience. I felt there was more at stake for me than when I generally perform. I was glad it meant so much to me, and found the entire process invigorating creatively. I want to do theatre I care this much about all the time.
This made me think about my future as an artist and how I want to continue community based collaboration and creation.
After the workshop phase of the project ended, the 10 MFA's and VKL spent several days trying to clarify what was important about the piece and what we wanted to say to the audience. We looked at the wealth of material already generated through the showing days. We also had several short monologues and scenes that people were already generating based on their individual research as well as the experiences in Marion. We had a lot of material that was only connected by theme. This was a problem. At the very beginning of the process, we talked about wanting to move away from the collage format that we explored in Vaudeville. We wanted to try and create a cohesive whole, not just a series of short pieces with little connecting them. Because we were dealing with real people and serious subject matter I felt that the audience would need some continuity, a Megan Faye Schutt 55 character or storyline that they could identify with and follow through a more traditional dramatic arc.
VKL suggested we look at Mike Leigh's improvisational approach to scripting and brought in some reading about Leigh's process. 13 AS took responsibility for running the improvisations and started leading us through improvisations where we explored potential storylines and characters. These were all videotaped and AS took responsibility for transcribing all of them. The improvisations were initially very difficult for me, but ultimately very useful. Most of the time, I do not feel comfortable when improvising. I tend to panic and have trouble figuring out what to say. However, improvising after creating a character history took a lot of the perceived pressure off of me creatively, and allowed me to create a character and dialogue that I understood from the very beginning.
I'd managed to avoid improvisation for the last several years, and was now being asked to do it to create text. After a few false starts, I found a character and storyline that I felt a little more comfortable with. In the earlier improvisations, I realized I was extremely uncomfortable playing an abuser. I know that stems from my own background and the fact that I am not comfortable arguing or fighting, but I realized very quickly that someone else would function better in that role. I ended up improvising the role ofthe victim in the lesbian relationship almost by accident. It was simply the only victim character that wasn't assigned to an actor at that point in the process.
We went away from the class session where we decided our characters and began to create character biographies. After the aforementioned false starts, I was amazed at how much having just a little bit of background helped me in being able to improvise
13 Paul Clements, The Improvised Play: The Work of Mike Leigh (London: Methuen Theatrefile, 1983). Megan Faye Schutt 56 with a sense of truth and investment. I met with TM to establish the common history between the characters we named Nessa and Mary, and then created the history of Mary's life prior to entering a relationship with Nessa. TM did the same. There were parts of our back-stories that we never shared with each other. I found this part of the process where the actor only knows the same information that the character would to be very helpful.
This concept is integral to Leigh's work and I will continue to use it in mine whenever possible. One of my biggest issues as an actor has always been that I get too caught up in my own head. I try to answer all the questions and ambiguities in advance. On some level, I feel that is necessary to create a cohesive product as a performer. However, it does get in the way. In that way of working, no information is ever new, and I tend to lose the importance of what is being revealed rather early in the rehearsal process. I do know that the most effective improvisations I was a part of as Mary were the ones where
I didn't know what was going on. My confusion and attempts to deal with that lent a great deal of truth to the situation. In the cycle of domestic violence, a great deal of time is spent "Walking on Eggshells," never knowing what to say and whether it will set the other person off. Through the improvisations, I really was able to understand how that felt, and the dialogue reflected that new knowledge.
The editing team (AB, LE, VKL) took the transcripts AB made of the improvisations as well as the other scripts and ideas we wanted to pursue and placed them in the order we had tentatively decided upon as a group. On November 30th, we had a work-in-progress showing of the script in the Bowen Theatre. The commissioning body from TP as well as most of the department faculty and a few graduate students attended.
The design team was also present. We requested written and verbal feedback. The people Megan Faye Schutt 57 who attended the showing felt that we had a good start with very interesting characters, but that the resolution of the dramatic action was flawed. The ending seemed too easy and it wasn't clear what happened to all of the characters or how they reached the point where they had to change. This was most apparent in the NessalMary relationship, and in the Latino relationship. We took the feedback, and went off to spend the holidays thinking about ways to improve the script. After the winter break, we spent the first week of rehearsal working in small groups to refine the script. This was incredibly fruitful. We were able to step back from the project for a few weeks and then come back to our characters. The editing team delegated most ofthe work to the people who were playing the characters, which meant that we were able to shape the scenes based on a deep understanding of the characters and what was important to them as well as the knowledge of what the scene needed to achieve as part of the larger picture of the script. Personally,
I was surprised to discover how much the process had in common with scoring a script.
As TM and I worked on it, we started to pay close attention to the beats and units that we would be acting. We made sure that we understood what was going on in each moment as well as what the characters wanted. The acting of it was an integral part of the script.
After we finished this process, it was as if we'd done a week of very focused, individualized table work. Then, at the second week of the rehearsal process, we entered a more traditional rehearsal period.
Once we reached that point in the process, I was able to focus on bringing my character to life. I felt very connected to her from the beginning, due to being intimately involved with her creation. There were several details that were drawn from my own experiences. I have worked a terrible job at a bakery to save up money. I also felt that I Megan Faye Schutt 58 understood Mary's response to conflict, since the text was generated using my honest reactions during the improvisations. Mary is fundamentally very much like me. I felt like anything I would do or any way I would respond was completely valid and lived without the character I created. The acting was very naturalistic across the board, which I think reflects how closely we looked at and understood our characters. During the process, I worked at specifying what was at stake for Mary in each moment. I also tried to be really clear about what she wanted and what tactics she was going to use. For me, I was able to really tie into the idea ofIsaac, Mary's young son. I have never had children, but tried to connect all of her decisions back to the struggle between making the best life possible for someone who depends on you, while still taking care of yourself.
All in all, I felt the production was a great success. It presented tough issues and I allowed a dialogue to begin with those who attended. I did the best work I could at this moment in time, and feel we all did the same. As I mentioned earlier, I experienced a great deal of anxiety about performing the script. However, I felt validated when people would stay and be attentive for the entire talkback. Hidden Voices helped start dialogue about how domestic violence is universal and present every day of our lives. It never goes away, no matter how much people try to sweep it under the rug and out of sight. Because of coming to the play, people were talking about the issue and examining its presence in their own lives. For the first time ever, I think I truly understand the potential of outreach and engagement work using theatre, especially with groups that are often deprived of representation. Theatre creates a forum where it is acceptable to push the boundaries and to ask questions. As a result, I want to do more work like this in the future. Megan Faye Schutt 59
I do feel there were some flaws in the production and the script. I felt that there was an uneasy balance in the script, and that the video presence at the beginning did not really fit with the rest of the show. Ifwe had created video to go between more scenes that dealt with the media in a satirical tone, the Julia Child portion would have made more sense. It was an example of an element in response to something we talked about early in the process that didn't really make it to the final product as we saw it. At one point, we were talking a lot about the saturation of media images in our lives and the acceptance of domestic violence in our culture. However, the opening was the only time it was referenced. Another example of this was the "crap trap," a Plexiglas box on the front of the stage that was lit from within. The initial idea was that the mess created in the various scenes would be swept into the box, remaining present for the rest of the play.
The "crap trap" was this great idea in development. However, it was underdeveloped in the final text. By the time we reached tech, there was no accumulation of detritus that could be pushed into the Plexiglas box. The audience was not given enough information to make this connection, so the box ended up being a nice effect that no one really understood.
After one of the performances at the end of the first week, a former student of mine came up to talk to me about the script. She is a Ph.D. student in the English
Department who is also a very outspoken lesbian. She was upset and hurt by the portrayal oflesbians in the production. Her first impressions were that Nessa and Mary's relationship was the most violent and that there was no explanation for why Nessa was so angry. She mentioned that the abuser in the heterosexual couple had jealousy issues and that the abuser in the gay couple also had a drug problem. Nessa was just the "scary butch Megan Faye Schutt 60 lesbian" who was violent without provocation. She also read Nessa's line at the end of the "Raging Bull" scene, "I hate that I hate myself.?" as being repressed homophobia.
When she told me all this, I listened carefully and tried to ask as many questions as possible. Our intention was never to reinforce negative stereotypes about any of the groups represented in the play. In fact, we had hoped to dispel many ofthe stereotypes that already plague the issue of domestic violence. This concerned me a great deal. My former student emailed me approximately four days letter, detailing her thought since the performance. I learned a lot from what she said, and her comments influenced my
Individual Project Proposal.
During the afternoon of February 9th, it was brought to the attention ofthe 10
MFA actors that the venue in Mansfield wanted some of the subject matter to be altered.
The word used to describe the situation was censorship. We found out about the potential problem from another theatre department graduate student who was not affiliated with the production in any way. I'm not sure where he heard the information initially. It was presented as, "Gee, it really sucks that you guys are being censored. Are you going to let them do that? What are you going to do?" At that point, I know I felt hurt and upset that this conversation had been taking place and that we weren't informed until it had become departmental gossip. After talking briefly with each other about the situation, we decided to wait until after the show had opened to address the situation. We didn't want to add any more drama to an evening that was stressful already. We talked to VKL on the 10th, the day after we opened, and said that we weren't willing to modify the script for the
Mansfield performances, especially since the only content being questioned was homosexual in nature and dealt with sexual obsession. We asked VKL to contact the
14 Hidden Voices collaborators, Hidden Voices Script. (The Ohio State University, 2006) Megan Faye Schutt 61 producer and see what our options were. As a group, we held firm to our convictions. We felt that changing the work at the request of an outside entity would be detrimental to the project as a whole.
MWS was apprised of the situation and gave us three options. We could edit the material, which consisted of twenty seconds of action and seven words, take the show as planned, or not go to Mansfield. He left and let us come to our decision. The final decision was his to make as producer and chair of the Department of Theatre, but he allowed us to state our opinion. The 10 MFA's discussed our options carefully and decided that we would like to take the show to Mansfield, but only if the show remained unchanged. MWS made the executive decision to pull the plug and the tour was cancelled. After the show closed, we had two meetings to discuss issues of artistic integrity, censorship, and community standards. I still stand by our decision, but learned a lot about what to do in the future. I will pay more attention to all possible involved parties. Mansfield was not on the Matrix of Needs. If we had known about the conservative nature of that campus far enough in advance, it may have been more of a consideration in the editing process. I do know that if I want my work to be readily bookable for tours, I will need to keep all possible venues in mind. However, I do think that college campuses are a place to challenge the students and the community, and they should not be censored. College students are adults. They should be treated as such. As long as there is a disclaimer on the door stating that the performance contains adult content, I feel we have done what we should to prepare the audience. If they don't want to see it, they should be able to make that decision. I respect that decision. However, I will not change what I'm going to say because someone might be offended. This Megan Faye Schutt 62 experience was a learning experience in that regard, and I stand by my classmates and the decision we made.
If we had another month to work on the piece, I would want to take a closer look at the structure of the text, making sure it tells the story we wanted to tell. On a purely technical level, I would have liked more time to iron out the kinks in the video. It seemed that there was so much of a time crunch with finishing the editing, that it was never fully integrated into the play. It seemed pasted on. The biggest challenge for me was the
"Horses" monologue and the fact that the video was finished before I was able to work with it, and that it did not fit with what I had built in rehearsal with VKL and MF, our voice coach. I had to adjust to it, and each night I was more worried about the timing of the video than the acting ofthe speech. I would also try to create some interaction between the different couples, so that the storylines could cross. The other thing I would have liked to modify was the characterization of children in the show. I don't have the answer for what would work, but Isaac not existing in the space often bothered me. At the end of the play Mary leaves, but Isaac is nowhere to be seen. That seemed unfinished to me. Thematically, it would be interesting if we only see Isaac at the end ofthe play. If he exists only in video form until then, his materialization in those last moments speaks to
Mary being able to connect to him again. It's a possibility.
What will I take away from this project? I have a newfound desire to do strong issue-based theatre, to use my skills to positively affect the world around me. I often feel selfish as a theatre artist, as if I am living in a vacuum made up of what fulfills me and nothing else. In this project, I went beyond my own experience to empower someone else who had been victimized and stripped of control. I also learned how to create a script as Megan Faye Schutt 63 an ensemble. I learned to listen and compromise. I learned about the structuring of a piece of theater. I learned a lesson about censorship and the responsibility ofthe artist to honor the source, performer, and audience. I learned more about my relationship to this difficult subject. I learned about myself.
Megan Faye Schutt 64
Outreach Project Proposal
As I stated in my Individual Artistic Process Reflection, I had a very valuable and
somewhat disturbing conversation with a former student after she saw the performance.
As a member ofthe lesbian community, she was upset by the lesbian relationship we
were portraying. Initially, she felt that it played into negative stereotypes and that was
what the play became about for her as she watched it. We talked for over twenty minutes
about her experience and I left the conversation wondering if we'd done a disservice to
lesbian victims of domestic abuse because ofthe specific story we told. However, there
was nothing I could do about it at that point. A few days later, the former student emailed
~ me, detailing her experience and why she felt she had experienced the reaction she did.
She stated that Nessa was the only character who seemed to be violent without
motivation, and because of Mary's past, Nessa becomes an even more threatening
character. 'She's the dyke who fuels the straight world's fear oflesbians--she steals
women and beats up mother and child alike. It's the symbolic destruction of the
heterosexual family unit, and while I was watching the play, I just kept thinking, "Oh
thanks a lot, the last we thing need is a little more fuel for that fire.' 15 This comment
made me start thinking about continuing my work in this arena.
I know that issues of domestic violence are something I care very deeply about,
and that I feel are served by exploration in the dramatic form. I have been interested in
this issue for a long time, and I was the one who planned the initial trip to TP last spring.
15 Jane Doe, "A Couple of (Really Long) Thoughts About Hidden Voices," (Email Correspondence. 24 February 2006). Megan Faye Schutt 65
I propose that I embark upon another project dealing with survivors of domestic violence,
but focus specifically on lesbian women who have been abused by their partners. Another
comment my student made in her email seems to reinforce the need for such dialogue.
"One of the things that people tend to believe about the lesbian community is that
we're just a lot of nice people hanging around drinking herbal tea and having a big
group hug. Were that it was so! The truth is that in terms of vicious gossip and
unbecoming behavior, well, let's just say that we can hold our own. And while it's
always tempting to say that lesbian domestic violence has been a hidden issue
because the social service industry doesn't care about it, it's also true that there is a
certain amount of silencing that comes from inside the lesbian community itself.
It's kind of complicated to explain, but suffice to say that we are [a] community
that has always had to be aware of the image we put out there. And let's face it,
battered women do not look good on a poster for gay rights.,,16
I want to create a project that deals specifically with this demographic. From the
challenges faced in the Hidden Voices project, I know that it will be difficult to find this
community. I will pursue our contacts with BRAVO, the Buckeye Region Anti-Violence
Organization, to find interested participants. The mission statement ofBRAVO is as
follows, "BRAVO works to eliminate violence perpetuated on the basis of sexual
orientation and/or gender identification, domestic violence and sexual assault through
16 Jane Doe, "A Couple of (Really Long) Thoughts About Hidden Voices," (Email Correspondence. 24 February 2006).
l \ I i Megan Faye Schutt 66 prevention, education, advocacy, violence documentation and survivor services, both within and on behalf of the Lesbian, gay, Bisexual and Transgender communities.t''" I would like to work with a small group of women who have successfully ended the cycle of abuse and create a performance piece with them. If they are willing, I would love to have them perform the text themselves. If not, I will find additional performers who are willing and capable oftaking on this challenge.
In leading this project, I plan to take my participants through a series of workshops, focusing on telling their stories through multiple mediums. I will lead workshops where the participants express themselves through movement and tableaux work, writing, and acting. It's difficult to say exactly where I go with this project until I have the group assembled. If there's one thing I learned from the workshop phase of
Hidden Voices} it's to expect the unexpected.
Tentative Plan:
1. Workshop Phase (Four Weeks):
In this phase, we will explore general ideas about domestic violence and the lesbian
community. The ideas and themes that will be explored will be drawn from the
experiences of the women I will be working with. Through this work, we will decide
what we want to say about the issues and start exploring important issues and any themes
that may arise.
17 Bravo; Buckeye Region Anti-Violence Organization. Website. 2006. 5 March 2006. http://www.bravo ohio.org!. Megan Faye Schutt 67
2. Scripting Phase (Four Weeks):
In this phase, we will take the initial ideas generated in earlier workshops and decide what form the play will take. By the end of the four weeks, we will have a draft of the full script that we can take into rehearsal.
3. Rehearsal Phase (Six Weeks):
I will run this process as close to a traditional rehearsal period as I can. I have factored extra time in so that we can refine the script and make any necessary changes. Megan Faye Schutt 68
Workshop Plan One
WORKSHOP TITLE Viewpoints: a Brief Introduction to Ensemble Awareness WORKSHOP TEAM MS PARTICIPANT GROUP TBD
DATE TBD WORKSHOP AIM: • To introduce the concept of Viewpoints. • To explore the concepts of spatial awareness and kinesthetic response through the FLO W exercrse. INTENDED OUTCOMES: • Participants will explore their awareness of external stimuli through simple improvisation. • An increased awareness of ensemble connection. • An understanding ofthe concept of FLOW. • A introduction to a method of physical improvisation that will be used in later workshops and rehearsals.
[ 1. WARM-UP - (15 minutes)
Name of activity: Introductions I Warm-up Aim: Introductions and establishment of comfortable foundation in which to work together. Materials: None needed Leader: MS Shape (how the space is used): Seated in a circle, then walking through space and standing in a large circle.
Instructions:
1. Introduce self, have each of the participants introduce themselves briefly. a. Name. b. Something interesting or unique about themselves. 2. Invite participants to stand and begin walking through the space. Stretch on your own, check in with yourself. Check in with the space, talking about what you notice above a whisper. Megan Faye Schutt 69
Check in with the other participants in the room, make eye contact and see who's here. 3. Stand in a circle. 4. Trace the energy from your pelvis down your legs: Front, back, sides Connect soles of feet to the floor 5. Trace the energy from your pelvis up: Front, back, sides 6. Trace up arms, neck, head: Front, back, sides 7. Kinesphere. 8. Peripheral vision! Soft focus. 9. Cast net: center, feet, high
Red Flags (things to look out for):
People being confused by inadequate explanation. Explain things carefully. Participants not being comfortable moving in this way. Be patient. There's no way to do this incorrectly.
[ 2. PRELIMINARY ACTIVITY - 30 minutes Name of activity: Introduction to Spatial Awareness and Kinesthetic Response Aim: To lead the participants through a discussion and understanding of the concepts. Materials: None needed Leader: MS Shape (how the space is used): Participants seated in a circle or semicircle.
Set-up (any introductory remarks/questions to the group): This is a basic instruction to the Viewpoints of Spatial Awareness and Kinesthetic Response. We will be focusing today on two ofthe cornerstone concepts ofthe training, but first we will undergo an intellectual understanding of the Viewpoints.
Instructions: "Viewpoints is a set of names given to certain principles of movement through time and space; these names constitute a language for talking about what happens onstage."
"Viewpoints is points of awareness that a... creator makes use ofwhile working" (Bogart 7-8).
Viewpoint of Time: Kinesthetic Response: A spontaneous reaction to motion which occurs outside you; the impulsive movement that occurs from a stimulation of the senses. '~ J
Megan Faye Schutt 70
Viewpoint of Space: . Spatial Relationship: The distance between things onstage, especially (l) one body to another; (2) one body (or bodies) to a group of bodies; (3) the body to the architecture.
Red Flags (things to look out for): Too much information too quickly, listen and write things out if possible. Make it clear that we'll talk about this more later, it will become clear.
[ 3. MAIN ACTIVITY - 30 minutes Name of activity: THE FLOW Aim: To build an understanding of spatial relationship through an exploration of Bogart's FLOW exercise. Materials: None needed. Leader: MS Shape (how the space is used): Open, clear space.
Instructions: 1. Begin by walking through the space. 2. Utilize soft focus. 3. Be aware of the space around you and the people in the space. 4. Walk through the space created between two people. Image that this space is a doorway to pass through. Pass through all the doors that appear to you. 5. Change tempo. 6. Add the possibility of stopping. Make sure the stops are inspired by outside events. Try to find the energy and potential for movement found inside a stop. 7. Follow someone. Pay attention to lines or curves that happen in space. 8. You can now tum away from someone as you come into their proximity. You can tum in the opposite direction. 9. Form a diagonal line in space. Explore the freedom inside the line. (3-4 minutes). 10. Open the exercise back up to the entire space. a. Work as a group with an awareness of all the lines that are possible in the space.
Red Flags (things to look out for):
People being confused or not willing to improvise. Clarify instructions if things aren't clear.
[ 3. CLOSURE/COOL-DOWN - 15 minutes Megan Faye Schutt 71
Name of Activity: Cool-Down Aim: To talk about what they experienced and what that made them think about theatrically. Materials: None needed. Leader: MS Shape (how the space is used): Open space, then seated in a circle
Instructions:
Walk through the space. Ask yourself... What have you discovered about yourself? Do you notice anything else about the space/ other participants?
Sit in a cirele- What did you discover? What was your experience? Any ideas or images come out of the work? Did other people do anything you thought was particularly interesting or truthful?
Time for questions- We will be building on this work in later sessions.
For more information:
Bogart, Anne and Tina Landau. The Viewpoints Book. New York: TeO, 2005. Dixon, Michael Bigelow and Joel A. Smith. Anne Bogart: Viewpoints. New York: Smith and Kraus, 1995.
Red Flags (things to look out for):
People shutting down. Try to get them to talk about what they are experiencing. Megan Faye Schutt 72
Workshop Plan Two
WORKSHOP TITLE Image and Counter Image WORKSHOP TEAM Megan Schutt PARTICIPANT GROUP TBD (Note I am using 'participant' here in place of 'client' or 'customer') DATE TBD WORKSHOP AIM (what you want to accomplish) -To stimulate exploration of personal stories. -To allow participants to tell stories they want to explore and share. -To stimulate discussion about objective and subjective perception. INTENDED OUTCOMES (what you expect At the end of the session, I participants to be able to do by the end of the anticipate the participants will have: workshop) -Had an opportunity to express opinions and observations. -Explored personal stories in a creative way. -Worked together to tell a story without using words. RELEVANCE TO OVERALL PROJECT Will explore images of oppression OBJECTIVE (how does this workshop develop your in participants experience and begin project objective?) exploring dramatic exploration of those experiences.
[ 1. WARM-UP (10 minutes) Narne of activity: The Elephant Game Aim: Raise energy, build comfort levels. Materials: N one needed. Leader: MS Shape (how the space is used): Everyone in a circle facing each other.
Instructions: "Silly warm-up to get the blood flowing. A players in a circle, one player in the middle. The player in the middle closes his eyes, holds right hand pointing in front of him, and spins around. When done spinning, open your eyes and say, as fast as you can, (Elephant, or one of the variations).
The player you're pointing to, and his 2 neighbors, need to build an elephant in less than the time the (person who's "it") needs to (count to 10). An elephant consists ofa trunk, made by the middle player, by holding your nose with one hand, and extending your other arm through the arm that holds the hand that holds the nose (does this make any sense?). The neighboring players each form a big ear, using both arms. Don't forget to attach the ears to the elephant's head. Megan Faye Schutt 73
Any player that cannot get his/her part done by the time the middle player (counts to 10) becomes 'it' and takes place in the middle ofthe circle.
Variations: You can really invent any object or create to replace the elephant. Try: • a car, with 2 wheels and a set of wind screen wipers. • a cow, with an udder and 2 horns. • a washing machine, with 2 players building a 'box' with both arms, and the middle player waving her arms in a circle in front of her. All go 'rumble rumble'. • a bunny, with 2 paws (middle player) and 2 rabbit ears (neighborsj.t'"
Set-up (any introductory remarks/questions to the group):
This is a very silly game that gets you thinking, moving and working as a team. We can personalize it if we revisit it again. Think about different images we can create with three people.
Red Flags (things to look out for):
People feeling self conscious. People preying on the participants who aren't as quick People not participating
[ 2. MAIN ACTIVITY (50 minutes) Name of activity: Image and Counter Image* Aim: To use Boal's techniques to explore personal stories of oppression and create tableaus based on those stories. Materials: None needed. Leader: MS Shape (how the space is used): Open space, Observers sitting in horseshoe facing the actors.
Set-up (any introductory remarks/questions to the group): -Explain the exercise and that it is taken from Augusto Boal's work. This exercise is from his book, The Rainbow ofDesire. Ask which of the participants would like to tell a story ofoppression or discrimination they have endured and would like to see explored by the group. Make it clear that they will be sharing parts ofthe story with the whole group and should be aware of what they are willing to share.
18 The Improv Encyclopedia. Website.
Instructions: Stage one: the stories -Ask which of the participants would like to tell story of an oppression they have endured and have it worked on by the group. Choose two or three who will tell their stories and divide the rest of the participants up into groups with the storytellers. Each group should have one storyteller. -Divide into pilots or protagonists (those who will tell stories) and copilots (those who will listen). -Let participants find a place in the room. -Participants make themselves comfortable and close their eyes. (This is to focus on the story and not on individual reactions) -The pilots tell their stories quietly to their copilots. -The copilots ask questions of the pilot if her imagination is not sufficiently stimulated. i.e. When? How? Where? What color? Was it violent? Was it hot? What was the house like? Were there people around? Where were you going? Was he tall? Was he short? (Try to ask non-judgmental questions or cause the pilot to deviate from main focus of telling story.) -After most finish story (about 15 minutes), gently ask remaining participants to find an ending, without being too sudden or brutal.
Stage two: the formation of two images -Gather participants back together. Ask who was able to conjure up clear and strong images of their story. -After first couple volunteers: -Have the protagonist and copilots face opposite directions and construct an image of the oppression, using available objects and the bodies of other participants (as needed, try to leave some people to observe). They place themselves last, as protagonist and narrator. (All this without seeing each other's work). -Protagonist-construct image of story that she has told. -Copilot-construct image of story that she has heard. -This is not meant to be literal, it's about creating "real, living subjective images of what has been felt. The intention is not to produce photo-reportage of an event, but it's poetic elaboration; truth, not superficiality.t''"
Stage three: observations on the two images -Have the observers discuss similarities and differences of images, especially in terms of: Position of protagonist in relation to others. Distances between characters.
19 Augusto Baal, The Rainbow ofDesire: the boal method oftheatre and therapy, Translated by Adrian Jackson, (Routledge, New York, 1995). pp 87-91. \
Megan Faye Schutt 75
The characters present or absent in each image. The number of characters. -Keep defining the difference between objective and subjective observation. -Do not share the original story with the group, work with the "reality a/the image. "
Stage four: the dynamisations A. The three wishes: -the protagonist modifies the image three times, with the goal of creating the image she really wants. -The copilot does the same with own image, either trying to follow the wishes of protagonist, or expressing her own desires. -Observe what we saw as a group, being clear about objective and subjective observations. B. The verification of possible desire and utopian desire: -Participants in images return to original positions. In slow motion, the protagonist and copilot move through all three movements while the other characters acquire life of their own and either try to stand in way of character's desires or support them, depending on their perceived role in the image -Observe and discuss what occurs. C. Repeat B with the pilot and copilot switching places: -Observe and Discuss
Red Flags (things to look out for): Shy or reluctant participants- how to involve them? Stories getting out of hand emotionally. Make it OK to step out of exercise of need be, and have other facilitators watching and ready to step in to help. Participants being too literal with images. Time- how long will this really take?
[ 3. CLOSURE/COOL-DOWN (10 minutes) Name of Activity: Reconnect with group Aim: To cool down and connect with each other and the day's work. Materials: None needed. Leader: MS Shape (how the space is used): Open space, then participants seated in a circle
Instructions: Walk through the space. Check in with yourself, seeing if there are any stretches you need to do. Check in mentally: How am I today? What did I do? What did I experience? What did I like? What didn't I like? Extend the awareness to those around you. Make eye contact with everyone In the group. Once you've done so, find a seat in a circle. Megan Faye Schutt 76
Discuss what happened: What we experienced, learned... what we liked, didn't like, discovered about ourselves and our stories ... also our ability to distinguish the difference between subjective and objective observation.
Red Flags (things to look out for): Shy or self conscious participants. People not sharing or making judgmental comments. Participants emotionally affected by today's work (check in and make sure they are all right, without calling attention to them). Megan Faye Schutt 77
Workshop Plan Three
WORKSHOP TITLE The Image of the Antagonist WORKSHOP TEAM Megan Schutt PARTICIPANT GROUP TBD (Note I am using 'participant' here in place of 'client' or 'customer') DATE TBD WORKSHOP AIM (what you want to accomplish) -To stimulate exploration of antagonist/protagonist relationships. -To allow participants to tell stories they want to explore and share. -To stimulate discussion about objective and subjective perception. INTENDED OUTCOMES (what you expect At the end of the session, I participants to be able to do by the end of the anticipate the participants will have: workshop) -Had an opportunity to express opinions and observations. -Explored personal stories in a creative way. -Worked together to take on roles of protagonist and antagonist. RELEVANCE TO OVERALL PROJECT Will explore the relationship OBJECTIVE (how does this workshop develop your between protagonist and antagonist project objective?) and provide opportunities for participants to share what can be universal about individual experiences.
[ 1. WARM-UP (10 minutes) Name of activity: Sound Circle Aim: Raise energy, get people out of their heads. Materials: None needed. Leader: MS Shape (how the space is used): Everyone in a circle facing each other.
Instructions: Sound Circle How it Works:
"Everybody in a big circle. One player starts the game by making a gesture and a sound to his right neighbor. The neighbor immediately imitates gesture and sound, then turns to his right neighbor and makes a totally different gesture and sound. Tell players not to preconceive, ask them to throw themselves into this exercise. Variations: -Instead of passing the sound/gesture to your neighbor, players can pass it to any player in the circle. Megan Faye Schutt 78
-Try the game without imitating the sound/gesture received; just have players turn around and throw a new gesture/sound to their neighbors as fast as possible'Y''
(Any introductory remarks/questions to the group):
This is a very silly game that gets you thinking, moving and working as a team. It doesn't matter what you do as long as you follow your first impulse. There are no wrong answers.
Red Flags (things to look out for): People feeling self conscious. People not participating.
[ 2. MAIN ACTIVITY (50 minutes) Name of activity: The Image of the Antagonist* Aim: To use Boal's techniques to explore personal stories of oppression and create tableauxs based on those stories. Materials: None needed. Leader: MS Shape (how the space is used): Open space, participants standing in a circle. This will change as the participants begin to work in small groups.
Set-up (any introductory remarks/questions to the group): The exercise will involve personifying someone you are or have been in direct conflict with so be aware of where you want to go emotionally and what you want to share. Conflict can be big or small, just think about people who want something in opposition to you. That is an antagonist.
Instructionsr" Stage one: the image of oneself -Have the group choose a theme, for example fear, love, jealousy or indecision. -Stand in a circle, facing outwards, standing a little bit away from each other. -Think of a situation involving yourself and an antagonist; this must be a I concrete relationship, involving a real person. -Translate that situation into an image of your body in the presence of the antagonist opposite you. -Turn into circle without showing image. -Show image all at the same time, hold that image. Stage two: the constitution of families of images
20
-Move closer to images similar to your own, staying away from images that are different. Create no more than 5 small groups or "families". Stage three: the choice of images Choose an image from each family that contains most of the "perceptible elements present in the family in its entirety." This is not a competition, look for something that's representative ofthe whole. These images are a synthesis of the whole group's experience on this particular day. Stage four: dynamisation A. Place the images in front of the group. As a group, discuss what we are looking at objectively. Keep this simple and try not to interpret. Articulate first impressions, what it makes you feel. B. Have the actor-images give the images a repetitive movement, paying attention to rhythm and how that affects feelings. C. Add one or more phrases that express the thoughts ofthe characters at that moment. Have them all do it simultaneously at first, then one by one. Now we have rhythm, image and phrase. D. Have the actor-images slowly metamorphose into the antagonist, taking on their image. This happens very slowly. E. The actors then add rhythm and phrase to their image. Seek concrete thoughts, not generalizations. a. "So, having seen the images of the protagonists with their rhythms and phrases, now we see the antagonists, with their rhythms and phrases, the whole being the work of the oppressed representing the fears of the group, symbolized or synthesized in theses few images." Stage five: identification or recognition Ask who in the group identifies or recognizes the images of the oppressors. They replace the actor in the image of the antagonist. The protagonist returns to her original image of the oppressed. Once all the antagonists have been replaced, place themselves opposite one another. I Skip Stage six and seven, there is not enough time to do this in one session. Stage eight: the exchange of ideas Discussion of what happened in the session
Red Flags (things to look out for): I Shy or reluctant participants- how to involve them? Stories getting out of hand emotionally. Make it OK to step out of exercise ofneed be, and have other facilitators watching and ready to step in to help. The participants going to an unsafe place emotionally. Participants being too literal with images. I Time- how long will this really take? 1 * My big concern for this exercise is that it doesn't get out of hand or tum into complete therapy. Perhaps we could work with a more benign conflict than fear or abuse ... I don't Megan Faye Schutt 80
want to dismiss it because I think it could be really useful, but it needs to be handled very delicately and needs to happen either late in the process or with participants who are further along in their journeys.
[ 3. CLOSURE/COOL-DOWN (10 minutes) Name of Activity: RelaxationlLinklater alignment exercise Aim: To cool down and connect with each other and the day's work. Materials: None needed. Leader: MS Shape (how the space is used): Open space with participants spread out in own space.
Set-up (any introductory remarks/questions to the group):
Explain that this an alignment exercise good for coming back to yourself after doing some challenging work. Start by asking the participants to focus on the verbal prompts and sensations in their bodies. Have them close their eyes.
Instructions: Warmup- Linklater Alignment Exercise -shoes off -stand with your feet 6-8 inches apart -find balance (rock through feet) -picture +the bones of your feet +the shin bones growing up from the ankle joints +thigh bones growing up from knee joint +hip joints and pelvic girdle (bowl image) +spine growing up through the pelvic girdle, through the small of the back, between the shoulder blades, with the rib cage floating around it and the shoulder girdle on top +the arms hanging from the shoulder socket +the upper arm bones, the elbow joints, the forearms, the wrist joints, the bones of your hands and fingers +back up through arms to the neck +neck vertebrae going up into the skull (between ears) +skull floating like a balloon -focus attention into elbow joints, let them float up to the ceiling (upper arms) -focus attention on wrists, let them float up to the ceiling (forearms) -let fingertips float up to the ceiling -imagine someone pulls you up by the fingertips (upper body) -let hands, drop, forearms drop, arms drop heavily -let weight of head pull you forward Megan Faye Schutt 81
-roll down vertebrae (one by one) letting your weight do the work ... RELEASE! -relax knees (let them bend slightly) -imagine torso hanging from the tailbone -build back up SLOWLY! (building blocks) -find and release any tension that arises (your spine will support you) -feel need to yawn/stretch and do so -Think a little about what you did today -open eyes -walk around room Observations- Discuss the session briefly, checking in with everyone to make sure they are all right.
Red Flags (things to look out for):
Insecure participants, not clear on what to do. Shy or self-conscious participants. People not sharing or making judgmental comments. Participants emotionally effected by today's work (check in and make sure they are all right, without calling attention to them).
I t
Megan Faye Schutt 82
Adrian Brown, Megan Schutt, Chris Roche, Robin Post
.~ Dr. Valerie Kaneko Lucas April 21, 2006
Outreach and Engagement Group Research Paper
Introduction and VOCA section written by Robin Post
Domestic violence is a pervasive problem faced by people of all genders, races,
and sexual orientation. The general populace is uninformed about the long-term
psychological effects of domestic violence as well as the lack of legal support victims
receive. The amendment to Issue One also known as the "gay marriage ban" that recently
became Ohio law, has diminished the state's ability to protect unmarried victims of
domestic violence. The Federal government has proposed an elimination of the VOCA
(Victims of Crime Act) fund by the close of2007. Victims struggle to find empowerment
in a society where federal, state, and local policy works against them. We, the 10 MFA
(Master of Fine Arts) actors at The Ohio State University have decided to help on a more
local and personal level. We will be developing a theatrical piece highlighting some
issues surrounding domestic violence in an effort to dispel some myths and educate the
community. The creation and writing of the piece will be developed through theatre
workshops that will take place at a local domestic violence shelter. This essay begins
with a detailed explanation of the VOCA fund and highlights the consequences of
depleting the fund. The essay goes on to explain the ramifications of the amendment to
Issue One. This research provides useful information for developing the production's
text. The essay continues with artist, Jacob Moreno and his methods of implementing
psychodrama. This research provides tools for we may wish to use when working within Megan Faye Schutt 83 a community often steeped in psychological struggle. The last topic covered in the essay deals with the role of the offender. A thorough understanding of domestic violence necessitates research into the reasons offenders do what they do. This information will provide information useful for character development as well as opportunities for developing text.
For the last twenty years, The VOCA fund has provided financial assistance to victims of domestic violence as well as to the agencies whose mission it is to assist and protect these victims. This fund exists on the federal level. The present administration has proposed to redistribute the money into the general fund making the VOCA fund bankrupt by the year 2007. Many agencies across the country such as the shelter we are working with will be forced to close should this proposal to redirect the funds pass in congress.
VOCA (The Victims of Crime Act) was passed in 1984 under President Reagan.
The purpose was to create a fund for programs and fees incurred by victims of crimes.
Most ofthe revenue is distributed each year by formula grants to the states. The money comes from fees incurred by federal offenders. The revenue does not come from taxpayers.
The revenue is distributed in two major types of programs:
1) Crime victim compensation programs:
These programs cover many ofthe out-of-pocket expenses incurred by victims as a result of crime. The funding supports direct services for victims of all kinds of crime including victims of assault, robbery, gang violence, intoxicated drivers, fraud, elder abuse, Megan Faye Schutt 84 domestic violence, child abuse and neglect, sexual assault, stalking and survivors of homicide.
2) Victims assistance programs:
These programs provide victims with support and guidance in the aftermath of a crime.
TP is an example of such a program.
There are more than 4,400 state and local victim programs, including rape crisis centers, domestic violence shelters, and victim assistants in law enforcement, prosecutor offices, and many others. Approximately 4 million victims a year receive aid from the
VOCA fund.
Because the amount in penalties (monies collected from federal offenses) fluctuated yearly, Congress created a special reserve and placed a cap on the fund saving the amount that exceeded the cap. The hope was to ensure the stability ofthe fund.22
The Bush administration proposes to redistribute: all the money that has been saved in the reserve; the estimated revenue at this year's end; and the projected penalties incurred during fiscal year (2006). The sum ofthese amounts is 1.267 billion and the intent is to redirect revenue into the administration's general fund. Ifthe proposal is adopted the VOCA fund will be bankrupt by the year 2007. 23 Places like TP depend on the VOCA Fund for over 70% of their revenue. Their financial stability would be in grave danger ifthe is fund be depleted.
With the cost of war growing to over $230,708,987,00024 and an increasing federal deficit, there is a need to take money from somewhere and this fund is apparently an appealing option. It seems ironic that our supposed efforts to "secure freedom" for
22 http://www.ncYc.org/ncYc/main.aspx?dbName=DocumentViewer&DocumentID=39840T 23 http://wwwjusticeactionalert.info/pd£.urgent_action_alert.pdf 24 http://nationalpriorities.org/index.php?option=com_wrapper<emid=182 Megan Faye Schutt 85
another nation is directly linked to the destruction of and inability to secure freedom and
~ protection for the citizens in our nation. In other words, the government is removing ! money from institutions that protect victims of violence in our country in order to
supposedly provide freedom to people in another country.
There are several agencies and some congressman pushing to preserve the VOCA
Fund and keep Congress's promise to victims. There are several websites explaining
how to oppose this recession and reject the Administration's proposal to take the VOCA
Fund.
For example, although the VOCA Fund has been very successful in creating
services for many victims, there are still too few services for rural victims, teen victims,
elderly victims, disabled victims, and non-English speaking victims. And up until now a ; concerted effort was being made to secure more VOCA funding in order to help these
groups not receiving enough aid. Obviously, that effort would be futile if all the money is 1, being extracted.f The threat to the VOCA fund is useful information for workshop creation. For
example, the residents at TP could write their legislators, congressmen, etc. The letters
and results would be available as options for creation of text. Additionally, the members
of the MFA class will collectively or individually write our congressmen or participate in
an organized demonstration outside the state house. Appealing to private donors and
highlighting their support in the production is one way to help keep Turning Point funded
should the proposal go through. Displaying posters in the lobby with private donor
information as well as the government's proposal to cut the VOCA fund is another
helpful tool. , 25 http://wwwjusticeactionalert.info/pd£.urgent_action_alert.pdf J Megan Faye Schutt 86
For more information on VOCA and how you can help, contact Susan Howley,
Director of Public Policy, or Ilse Knecht, Deputy Director of Public Policy, at the
National Center for Victims ofCrime at 202-467-8700.26
Note: Megan Schutt's portion of the group research essay is included in the main
section of the portfolio.
TP and the Abuser written by Adrian Brown
In order to clarify potential plots and storylines for the Hidden Voices project, we
need to look more carefully at the organization we are partnering with. TP is a "domestic
violence shelter advocating victim rights, crisis counseling, and help for victims of
stalking and other forms of abuse in Ohio counties of Crawford, Delaware, Marion,
Morrow, Union, and Wyandot.,,27 They are a safe house, not a homeless shelter, which
1 provides shelter and support for victims of domestic abuse. This year is their 25th year
anniversary."
With that in mind, I (AB) decided to concentrate my focus on the offenders as
part of my research. I by no means want to stand up for the offenders or pardon,
sympathize, or agree with what they did. I do however find that in cases with conflict
there is another side to the equation. I feel that our understanding and helping the
offenders are essential to helping stop domestic abuse.
TP's newest and fastest growing program is the Domestic Violence Intervention
Project (Batterer's Treatment). This is a court-ordered program, 12 to 18 weeks in
26 http://www .ncvc.org/ncvc/main.aspxvdbblame=DocumentViewer&DocumentID=39840T ~ 27 www.turningpoint6.com 28 Turning Point Venue Visit Report
j , ! Megan Faye Schutt 87 l length, which is based on the nationally known Duluth program. Program participants •~ focus on taking ownership of and changing their abusive behaviors, while learning communication techniques and ways to develop healthy relationships. 29
The Domestic Abuse Intervention Project (DAIP) in Duluth, Minnesota, is a
comprehensive community-based program for intervention in domestic abuse cascs". It
attempts to coordinate the response of the many agencies and practitioners who respond
to domestic violence cases in their community. The project involves community
organizing and advocacy that examines training programs, policies, procedures and
texts-intake forms, report formats, assessments, evaluations, checklists and other
materials. They ask how does each practice, procedure, form or brochure either enhance
or compromise victim safety."
Since abuse is about power and control, a power and control wheel was developed
~ to help in their intervention process. The Power and Control Wheel was developed by
battered women in Duluth who had been abused by their male partners and were
32 attending women's education groups sponsored by the women's shelter . The Wheel is
used in DAIP's curriculum for men who have used violence against their female partners.
While DAIP recognizes that there are women who use violence against men, and that
there are men and women in same-sex relationships who use violence, this wheel is
meant specifically to illustrate men's abusive behaviors toward women.f'
29 www.tumingpoint6.com 30 www.duluth-model.org 31 www.duluth-model.orgl 32 www.duluth-model.org • 33 www.duluth-model.orgl
j Megan Faye Schutt 88
With all this in mind, I (AB) discuss TP's venue needs. One of their needs is the idea of raising awareness and creating a forum for dialogue. We could use this for the offenders as well. By working with offenders in workshops, interviewing them, etc., we can see the other side of the equation no matter how ugly it is. By giving a voice to these clients we will be able to show both sides of domestic violence in clear and specific ways.
In terms of clients needs according to our venue visit report, the women want someone to tell their story, to have a safe place to explore their thoughts and feelings, and something positive and engaging to be involved with. In terms of the offenders, we can take what the survivors want and apply it to the offenders. Ifwe give them a place where they don't feel like they're on trial, give a place to say whatever is they want, maybe we then can get to the root of the problem and try to fix it. We can give them all of this and maybe it will jump-start the offenders taking ownership of and changing their abusive behaviors, while learning communication techniques and ways to develop healthy relationships with our workshops. Some say that denial is part of their behavior, but if we don't do something about THAT behavior, what does that say about us as educators and advocates?
Within our workshops we could let the offenders tell their story in a creative way allowing them to see this behavior, recognize it and then stop the pattern of violence. We cannot ignore this group if we are to make an impact on this issue. Not only do the clients need help, so do offenders. The pattern of abuse needs to stop, but if no one addresses the offenders, where are we at the end?
Jacob Moreno Section written by Chris Roche Megan Faye Schutt 89
In working with both victims and offenders of domestic violence, what resources
are available for conducting drama wo~kshops or drama therapy in order to accumulate
material safely for a stage play? When addressing these needs for our Outreach Project, I
(CR) thought about Jacob Moreno and his theories of "Psychodrama, and Sociodrama".
Before plunging into the techniques, allow me first to focus on the theorist. Jacob Moreno
was born in Bucharest, Rumania on May 18, 1899. He resided in Vienna, Austria until
1925 when he immigrated to the United States. Upon arrival he continued work on his
"Theatre of Spontaneity". This "theatre" is intended to explore "play" in terms of
creativity and spontaneity on a stage. Moreno hoped to elicit catharsis and growth in his
patients (children and adults), by creating a safe environment in which patients could
explore significant events in their lives, and thus move forward in their human
development. In other words, if someone was beat up by a bully in grade school, would ~ this have anything to do with their becoming a domestic violence abuser? If so, then !
; Moreno would utilize a tool he created called "Psychodrama".
Psychodrama is one of the techniques Moreno employed in his Theatre of
Spontaneity. He states:
... it means full psycho-realization. Under this term are included all the forms of dramatic production in which the participants, either actors or spectators, provide: a.) the source material, b.) the production, and c.) are the immediate beneficiaries of the cathartic act. Every session is a cooperative, communal act. .. 34
Psychodrama deals with the interior world of the individual, and explores private
role aspects of the individual as they relate to ones past. I found this to be an exciting
approach to a workshop with victims of domestic abuse. The only issue I had was that it
seemed so private, very "micro". Upon further research I discovered the "macro" part of
• 34 Moreno, Jacob L. and Zerka T. Psychodrama: Action Therapy & Principles of Practice
i ..J 1 ! i o Megan Faye Schutt 90 ~ Moreno's' theory. He entitled this, "Sociodrama". This differs from Psychodrama in that 1 it deals with exploration ofthe collective aspects of shared communal experiences. A key
difference between the two approaches is that Sociodramatic sessions involve
hypothetical situations, whereas Pyschodramatic sessions involve real, individual stories
from the participants. It seemed to me that Sociodrama was a better way to work with the
people from the domestic violence shelter. This is because it is less intrusive and more
inclusive potentially for the participants. Something that is shared as part of both of these
approaches is "Role Theory". Moreno embraced Jungian archetypes, as opposed to
Freudian analysis in his creation of Role Theory .
.. .each of us plays a number of roles as part of our daily routine. We are the dutiful daughter, the selfless mother, the reliable employee and the alluring lover-all in one day. Moreno saw "role" as the tangible manifestation of the self. Moreno described three stages of role development, which could be broadly explained as: Role-taking- a role is acquired, as if by osmosis and without question or analysis. - Role-playing- a more conscious process of adopting a role and adapting it to our needs and preferences. Role-creation- a creative stage of experimentation with new elements of role, growing with spontaneity. 35
It was through these three criteria I was able to fully participate in the workshop
planning, and execution. For example, with the second workshop I followed directions in
the exercises, and became a "role-taker". I asked no questions, and allowed myself to
unconsciously live in the moment, and do what I was told by facilitator and client alike.
In the final session at the shelter, I became more of a "role-player". This particular
workshop turned into somewhat of a "group therapy" session, and I found myself
consciously playing the role of myself in the past. These tools were not only useful and I 35 http://members.opusnet.com.au/interaction/resources/sociodrama.htm, April 11,2005
.... , Megan Faye Schutt 91 j clear to me, the trained actor, but they were successful for the survivors as well. The • clients were enthusiastic in their willingness to become creators. Even though they were not privy to this analysis on Jacob Moreno, they were involved in the role-play.
There are many correlations between the work Jacob Moreno explored, and
Stanislavski's "system" for acting. Affective Memory for example, is not only part of a
Stanislavskian approach to acting, it lives in the same dimension as psychodrama. By
tapping into the memories of our past, we bring certain urges, desires, and un-earthed
truths to the surface. Moreno himself observed this in his book, The Theatre of
Spontaneity.
... slowly my ideas began to influence the Group Theatre and the followers of Stanislavski. Elia Kazan employed the psychodramatic method in the Actors' Studio. There is a superficial relationship between psychodrama and Stanislavki's method. However, whereas Stanislavski used improvisation in order to perfect performance, I permitted even encouraged imperfection in order to attain total spontaneity. 36 •,., Living truthfully in the moment is essential for the actor. Not wishing to delve
into instances of domestic violence is the impulse for a survivor of violence. Can we as
actors' use our special talents to help bring about healthy change for victims ofD.V.?
Yes, we can. The carefully structured components of Dr. Moreno's techniques are
specific, and steeped in the idea of exploring ourselves through archetype and role-play.
As a proponent of Stanislavski and his disciples, I find Moreno a useful source in
collaborating with real people, living in real events. Utilizing our training in acting, and
applying some of Moreno's' techniques, is a solid approach to community outreach
involving human beings living in critical situations. I 36 Moreno, Jacob. The Theatre of Spontaneity.
..... Megan Faye Schutt 9L
"Hidden Voices: A creation through collaboration with fellow MFA actors • and community partner Turning Point." Outreach and Engagement Working Portfolio
Written Documentation Presented in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in the Graduate School ofThe Ohio State University
By
Megan Faye Schutt
27 September;2005
• Master's Examination Committee:
C{~~~ Associate Professor Jeanine Thompson, Cltair Jt~~. Professor William Conable
v~,<~ Assistant Professor Maureen Murphy I -A Megan Faye Schutt 93 Bibliography • Blatner, M.D., Adam. "A Historical Chronology of Group Psychotherapy and Psychodrama." Adam Blatner Homepage. 2005.3 January 2006. Boal, Augusto. The Rainbow ofDesire: the boal method oftheatre and therapy, Translated by Adrian Jackson. New York: Routledge, 1995. Bravo; Buckeye Region Anti-Violence Organization. Website. 2006. 5 March 2006. Cameron, Julia. An Artist's Way: a Spiritual Path to Higher Creativity. New York: Tarcher, 1992. Carnabucci, Karen. "Dr. Jacob L. Moreno, the father of psychodrama." Companions in Healing Website. 3 January 2006 . • Theatrefile, 1983. "The Duluth Model." Minnesota Program Development, Inc. 3 January 2006. Doe, Jane. "A Couple of (Really Long) Thoughts About Hidden Voices." Email Correspondence. 24 February 2006. Goldberg, Michelle. "Homosexuals are Hellbound!" Salon.com. 2005. 25 May 2005. Hidden Voices collaborators, Hidden Voices Script. The Ohio State University, 2006. - Hidden Voices collaborators. "Matrix ofNeeds." The Ohio State University, 2005. ..... Megan Faye Schutt 94 The Improv Encyclopedia. Website. March 5, 2006. The Improv Encyclopedia. Website. March 5, 2006. Internet Article. "Issue 1: Proposed Constitutional Amendment, State of Ohio." Smart Voter Website. 2004.25 May 2005. Moreno, Jacob. The Theatre of Spontaneity. New York: Beacon House Inc, 1947. Moreno, Jacob L. and Zerka T. Psychodrama: Action Therapy & Principles of Practice. New York: Beacon House. 1969. "The National Center for Victims of Crime." Website. 2004.3 January 2006. =39840T>. "National Priorities Project: Turning Data Into Action." Website. 2006. 3 January 2006. Rothschild, Scott. "Gay Marriage Ban Poses Unintended Consequences." Lawrence Journal-World. March 28, 2005. Sacks, James. Bibliography of Psychodrama Inception to Date. ASPGG Website. 2001. 3 January 2006. Schutt, Megan. "OBSERVATIONAL REPORT INTO TURNING POINT". Essay. Ohio State University, 2005. Megan Faye Schutt 95 Treadwell, T. "General Information about Psychodrama." ASGPP Website. 2006. 3 January 2006. "URGENT ACTION ALERT: Crime Victim Funds at Risk!" Website. 3 January 2006. Turning Point. Homepage. 2005. 3 January 2006.