Learning in crisis: Notes to myself

This written piece of work is made up of small notes to myself. As the author, I reflect on my experiences and beliefs of things I have had to learn, unlearn and accept. These notes reflect how I breathe and find myself navigating the teaching and learning space during the COVID-19 pandemic. Putting voice to some of the thoughts and realities which are not always articulated, but embraced and housed in this Black, female, Xhosa body. © 2023 Intellect Ltd Commentary. English language.

Lifting the ‘knee on the neck' through virtual collaboration within creative and therapeutic art methodologies

Police brutality towards Black people and People of Colour (POC) has been a thorn for centuries in South Africa and the world. The advent of COVID-19 escalated this struggle to unimaginable heights, illuminating, amongst other things, the epistemological and ontological limitations underpinning modernity (Mokuku 2021). Nevertheless, the killing of George Floyd moved masses across the globe to reflect critically on the injustices that Black people endure. Equally, social media shone a spotlight to mobilize consciousness amidst the pandemic restrictions. Moved by the mood of the time, we (a group of primarily arts practitioners and thinkers) organized virtual ‘intergenerational and intercontinental dialogues' to explore how the dialogic approaches informed by the principles of applied theatre may catalyse drama therapy approaches. Through conversations that we named ‘epistemological injustice', we made discoveries that included noticing how the biases we all carry may serve as enablers or constraints in embracing therapeutic encounters across disciplines. This article shares insights from the ‘#Talks' and generates reflective material for creative arts therapies and applied theatre methodologies. © 2023 Intellect Ltd Article. English language.

Lessons learnt from teaching an Applied Drama and Theatre pedagogy online in a digitally divided South Africa

An Applied Drama and Theatre pedagogy is rooted in principles of embodiment, participation and collaboration, praxis and immersion in social contexts. Over the past fourteen years, the Drama for Life department at the University of the Witwatersrand prioritised the implementation of an Applied Drama and Theatre teaching and learning practice that is premised on our bodies operating within social and cultural contexts. Furthermore, the experiential pedagogy is reliant on physical presence and human contact for the purposes of reflection, transformation and education. With the arrival of the COVID-19 pandemic, this complex pedagogy faced a threat. How can we migrate an Applied Drama and Theatre curriculum to online learning platforms? Can we fully honour its pedagogical objectives remotely? The study explored how Applied Drama and Theatre educators re-envisioned and implemented strategies to maintain the integrity of the embodied pedagogy as it moved online. These collective approaches transpired amidst a disruptive digital divide within a South African context, which impacted connectivity, access and the hopes of a synchronous learning experience. From 2020 to 2021, the ethnographic study tracked and observed Drama for Life and its Applied Drama and Theatre educators as they;1) responded to the pandemic and identified its threats to the pedagogy;2) through processes of experimentation, transitioned the curriculum to online learning platforms;and 3) reflected on their discoveries, challenges and interim solutions throughout the journey. The study found (based on literature and data) that the pandemic provided higher education institutions and practitioners with an opportunity for directed change. Central to the collective strategies remained student centredness and pedagogical alignment. Although certain aspects of the Applied Drama and Theatre pedagogy have undeniably been compromised online, the study demonstrated that with increased efforts to bridge the digital divide, the strategies can be navigated continually with a carefully negotiated balance.

Healing the healer: Recipes of self-care

The idea of self-care has been a central theme more recently with the advent of the COVID-19 pandemic. Many people are seeking ways of existing that are about caring for self and others. As drama therapists and artists, the need for us to practise this care with and for others is even more important as we carry the burdens of stories and trauma of our clients. Drama therapy as a mental health modality is suited to address and offer strategies of what care and self-care especially for practitioners might look like. But what exactly are the traits of self-care and how does it link to our ethical caring practice of therapy and theatre-making? In this article, we argue that self-care needs to be redeemed from the individual focus and to be more about community. We offer recipes as performances of communal creation and a model of self-care that occurs with and for others. These recipes are meditations inspired by encounters with ourselves, our loved ones and our past. The article is presented in recipes and conversation form to emphasize the idea that caring cannot occur in isolation outside of others. We look at the moral imperative of rituals of care that have existed in our lives and how these can be brought to the fore to become shared knowledge. We share our experiences of growing up in a community of women who also practise kindness and love. We hope the techniques suggested deepen the existing conversation on centralizing Black women's knowledge systems and healing practices within the drama therapy canon. We do not assume to speak for all Black women everywhere in the world;we write to centre our experiences as Black women who are drama therapists who are accountable to other women. We encourage readers to create their own recipes of what community-centred self-care practices might look like. © 2023 Intellect Ltd Article. English language.

Virtual Vaccine: Practical Experiences of Online Dramatherapy

Since it was first identified in 2019, the COVID-19 pandemic has ravaged countries globally. To prevent the rapid spread of the virus, governments around the world have implemented policies such as closing cities and prohibiting gatherings, making direct communication and contact between people difficult. This has not only caused major changes in human life patterns but has also affected the beliefs and assumptions of drama therapists. Compared with that of online psychological counseling, which has been thoroughly researched, the implementation of online drama therapy is still in an exploratory stage. Research has demonstrated that online drama therapy can achieve the same benefits as in-person therapy. Online drama therapy effectively integrates various resources, experiences, and techniques and has the potential to reach out to cross cultural, environmental, and individual borders. Using three-dimensional game technology, therapy can be provided on virtual visual platforms to communicate in a dynamic and visual manner. In addition, online media can be used to overcome geographical limitations, reduce time and economic costs, and enables more clients to receive drama therapy courses. Through the camera, more can be learned about the life of the client, such as their living space and relationships with family members, which helps the therapist to adjust the treatment process. The client's lens is also a window for the therapist to understand their personal life and space. The close-up nature of the screen makes it easier for the therapist to observe the client's facial expressions and potential body language cues, which can be regarded as a form of close communication. This new type of drama therapy uses online platforms as a medium and provides clients with assistance using dynamic images and visual media;however, a lack of analysis and research regarding how online drama therapy should be performed in practice persists. Therefore, this study explored the practical experience of practitioners in drama therapy online groups to accelerate the promotion of online drama therapy. This study had three main research questions: (1) What is the difference between online drama therapy and physical drama work? (2) What are the working methods and strategies of online drama therapy? (3) What are the challenges of online drama therapy? To explore the practical experiences of drama therapists in online groups, this study adopted semistructured in-depth interviews with three drama therapists. The study participants had 5 years of experience in drama therapy and had provided online drama therapy for more than 1 year. The practitioners were all licensed drama therapists: two from the U.K. and one from North America. Their clients included teenagers, children, voluntary clients, college students, youth groups, and adult community groups. After contacting the three research respondents using online messaging, explaining the purpose of the research, and confirming the respondents' wishes, the interview outline was sent by email. The researcher, who was a senior drama therapy and psychological counseling practitioner served as the interviewer, and each semistructured in-depth interview was conducted using an online platform according to the convenience of the interviewee in accordance with epidemic prevention measures. Each interview was approximately 60 minutes long and provided insight into the experience shared in response to the research questions. After data collection, we used thematic analysis to analyze the interview transcripts and used triangulation to compare unified data among coresearchers to improve reliability and validity. The results were as follows: First, the differences between traditional and online drama therapy included that the therapeutic relationship shifted from "presence in a relationship” to "one-way relationship”;participants shifted from closed groups to more open groups;the therapy strategy shifted from interventional to supportive work;group leadership shifted from improvisational to hi hly structured;and the space for the entirety of the therapy shifted from a physical conversation space to a highly anonymous online space. Second, the working methods and strategies used in online drama therapy included: Using imagination and rituals to create a virtual space, using digital media to enhance the self-expression of participants, using real-life materials to strengthen the transformation of virtuality into reality, using images to catalyze role-playing, and promoting self-talk through virtual mirroring. Third, the challenges of online drama therapy included that the online platform limited the possibilities of interaction in theater, the dilemma of instrument theatre creation by verbal or metaphorical supplementation, the mental labor of familiarity at a high concentration and high uniformity, and the challenge of environmental privacy in therapy. The results of this research revealed that: (1) The objective perception experience in the digital work environment reduces the possibility of exploration and transformation of the client's emotional experience. Therefore, online drama therapy is not only a simple transfer of physical drama therapy technique to the computer but influences the essence of the experience. (2) Online drama therapy encourages the client to engage in role-playing and emotional release from a first-person performer position. The client simultaneously occupies a third-person audience position because of the mirroring that occurs on the screen. This process causes the simultaneous mental states of clients as both performers and audience members. (3) Online drama therapy practitioners must enhance clients' understanding of each other's behavior using the guidance of highly structured activities and language, and at the same time, they must consider the client's ability to create spontaneously. Therefore, practitioners must direct and exhibit rich imagination. However, thinking about the themselves as shown through the screen to create an aesthetic experience and having to consider the relationship between the image and the psychology of the client using logical reasoning causes a high degree of psychological labor for practitioners. Three recommendations are proposed by the researcher, based on the findings of the study. First, how practitioners should balance trauma intervention and emotional support in a digital environment is an ethical matter that requires further investigation. Second, training model should be designed that promotes a new type of online drama therapy that enhances drama therapists' ability to use digital technology and new media, improving the editing and directing ability of practitioners in image analogy and logical derivation and deepening the exploration and integration of clients' perceptual and rational experiences. Third, attention should be paid to the high degree of psychological labor that online drama therapy causes practitioners. Being aware of the sense of isolation and limitation caused by screen work, reducing performance anxiety related to work effectiveness, and undertaking self-adjustment and relaxation are necessary. Finally, through the interpretation of practitioners' practical experiences in this study, practical reference material for the application of online drama therapy can be expanded. We also hope that online drama therapy can be a "virtual vaccine,” offering the possibility of rehabilitating the body and mind among individuals suffering because of the COVID-19 pandemic. © 2023, National Taiwan Normal University. All rights reserved.

Wolf Play by Hansol Jung (review)

Hansol Jung's Wolf Play, which finally had its New York premiere at Soho Rep in 2022 after a two-year postponement due to the COVID-19 pandemic, revolves around the experiences of an 8-year-old Korean child called Wolf, who was adopted by a white heterosexual couple, Peter and his wife Katie, and, at the beginning of the play, is being illegally relinquished to a lesbian couple, Ash and Robin. Whereas the 2019 Chicago-based Gift Theatre Company's production of Wolf Play was presented on a proscenium stage, this new version at Soho Rep specifically arranged the space to highlight the confrontational nature of this scene. Biased against the lesbian couple and without taking Wolf into consideration, the court ruled in the "best interest" of the child, stating that Wolf's guardianship fell under the authority of the state.

Drama as a Powerful Tool to Enrich Socio-scientific Argumentation.

Socio-scientific argumentation (SSA) is increasingly being recognized as a key aspect of scientific literacy. Much of the reason for this is that this skill is crucial for helping students to become active participants in twenty-first-century democratic societies in which the construction of informed and critical views of socio-scientific issues (e.g. climate change, COVID-19 vaccination, genetic testing) plays a fundamental role. The problem is that instructors rarely give students explicit and research-based opportunities to enrich their SSA skills. Therefore, the aim of this study was to provide evidence that drama can be used as a platform to enrich argumentation in genetic testing. The data were derived from the written responses and the audio recordings of seventy-six university students (37 females and 39 males, 16-29 years old) in Colombia during a complete drama-based teaching-learning sequence (TLS) supervised by the same instructor. The outcomes suggest that the sequence can be used to enrich argumentation in genetic testing as it effectively provided participants with explicit opportunities to produce both arguments and counterarguments about the controversy whether the use of genetic tests among people should be encouraged. This study contributes to the literature on SSA in science education by demonstrating that drama is a promising tool to enhance argumentation about science-based social issues. Supplementary Information: The online version contains supplementary material available at 10.1007/s10763-022-10320-3.

Seeking dramatic reality in the digital world

More than two years after the beginning of the COVID-19 pandemic, online drama therapy seems to be viewed both by therapists and clients in an extreme way: either as a means of salvation in the limitations of distance and quarantine restrictions or as a discount to in-person therapy. In this conceptual article, the author explores the ways in which online drama therapy utilizes aesthetic distance and dramatic reality. The author theorizes how these concepts translate into an online space without breaking the relationship between therapist and client/group that is already being hindered by the literal distance, the lack of body involvement and the mediation of technology and the screen. Through discussion of the existing literature on aesthetic distance and fantastic/dramatic reality, the author examines these concepts through the lens of the online setting, providing some thoughts that might be of use when planning an online session.

Preventing Anti-Asian Acts in Schools with Culturally Responsive Teaching and Anti-Bullying Programs

The increase in hostile behavior targeted at Asian people is a concern that school districts must address. To respond well, educators need to apply effective methods for preventing this problem. One of the ways they can achieve this goal is by implementing a culturally responsive approach to teaching. Another involves using effective anti-bullying programs. This paper provides details about the importance of implementing these strategies to prevent anti-Asian attacks. It also provides several examples of anti-Asian incidents that occurred shortly after the COVID-19 pandemic began. A few historical events involving the hostile treatment of Asian people are included to provide a context for understanding this problem. [ FROM AUTHOR] Copyright of Clearing House is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full . (Copyright applies to all s.)

COVID-19 and Religion

The COVID-19 pandemic has produced a social drama in which churches, government, and individual actors have played prominent roles. While neo-conservative evangelicals have resisted governmental and scientific overreach in the name of "faith over fear”, liberal religious groups have joined in government and medical efforts for the good of the commons, offered comfort and assurance to those suffering, and called for support of the poor at home and abroad. Religions have turned right and left, from apocalyptic "resets” of global order to new calls for social justice. In this context, the root metaphor of the epidemic has been called up as a historical construct that helps to conceptualize, analyze, and act upon the COVID-19 crisis. Searching the past helps us see that not everything about COVID-19 as a social drama is a new or unheard-of challenge. For example, there are new evocations of the black death of 14th-century Europe that became a crisis in the church, as well as the great Lisbon earthquake in 1755, which upended the confidence of the European Enlightenment. Another way to appraise the dimensions of the COVID-19 outbreak is to call on the varied approaches characteristic of the sociology of religion, that is, to consider how ideology and belief are socially constructed in order to account for new intellectual responses to societal challenges. Does religion always produce the "collective effervescence” Durkheim posited? Does religious change always arrive downstream of cultural change, or can it also become an independent variable? This article attends primarily to the sharp responses of conservative religious expression in the face of attention-getting upheaval, which has readily translated into right-wing political action and electioneering. But the social uplift and altruism of liberal religion is not neglected either. Thus, this article provides an account of how science and governmental action have both been challenged and embraced in response to COVID-19. As such, it is not an empirical study stemming from new Pew-like social polling. Rather, it is a wide overview rooted in sociological methods and theory for tracking religion historically and presently in America in a manner that aims to inform a discussion of how COVID-19 has impacted religion and religious expression, and vice versa.

Staging Race and Gender in the Era of Contemporary Crises: Dramas of African American Women Playwrights

Starting from the premise that contemporary crisis is a pervasive continuation of the modern "series of interrelated crises"(Fernández-Caparrós and Brígido-Corachán vii), this article examines the manner in which the US theater has responded to the outbreak of the COVID-19 pandemic. Simultaneously considering crises as "agents of change and transformation"(xvii) and bearing in mind the #MeToo, and Black Lives Matter movements, the article questions the likelihood of contemporary American theater overcoming its own crisis of representation. Relating modern and current crises, the essay first outlines twentieth century dramatic literature and theatersi against the backdrop of the World Wars, the 1918 health crisis, economic depression, and post-war (racialized) society, focusing on plays by American women of color. The study then centers on dramatic and theatrical developments brought about by the annus horribilis of 2020, surveying new genres, authors and performances, and discerning no significant improvement in systemic discrimination on Broadway stages. The essay also offers complementary reading of Trouble in Mind (1955), a meta-drama mirroring systemic racial and gender discrimination in American theaters, and By the Way, Meet Vera Stark (2011) which unravels similar issues, albeit in the film industry. © 2022 Ifeta Čirić-Fazlija, published by Sciendo.

Creating LGBTQ + drama in the age of COVID-19: an interview with Tom Wright

In this interview, writer, director, dramaturg, and producer Tom Wright and I examine his experiences with creating LGBTQ + theatre and film during the pandemic. We discuss some of the changes to theatre as an art form, as well as how he negotiates with them. We go on to analyze his two recent offerings: Very Special Guest Star (2021), which had its premiere at the Omnibus Theatre, and I Ain't Dumb (2022), which premiered in Wright's hometown, at the Belgrade Theatre Coventry, as part of UK City of Culture celebrations. We conclude by looking at Wright's first short film ‘Stockholm' (2021). This interview advances scholarship in two significant respects: first, it offers insights into Wright's growth as an artist—that is, as a writer, director, and now a filmmaker—and secondly, it illustrates the capacity of theatre and film to explore issues that have remained pressing to the LGBTQ + community, including adoption, mixed-race relationships, and hyphenated identities. © 2023 Informa UK Limited, trading as Taylor & Francis Group.

Descriptive qualitative study exploring teachers using drama-based instruction to promote engagement

The purpose of this qualitative, descriptive study is to explore how teachers describe the process of creating lesson plans that use drama-based instruction (DBI) in the classroom to engage students as well as how they describe their experience using DBI in the classroom to engage students. Fourteen teachers located in the state of Florida participated in this study. Vygotsky's zone of proximal development (ZPD) provided the theoretical framework for this study. Semi-structured individual interviews and two focus group discussions were the three data sources. The results revealed that DBI promotes student engagement, and all 21 participants have implemented lesson plans using DBI in their classrooms within the current or the last academic school year prior to COVID and have been teaching for a minimum of one year at the middle school level.Twelve themes were generated: 1. Before teachers create a DBI lesson plan, they reflect on their earlier teaching strategies;2. Teachers use their exposure to drama to create a DBI lesson;3. Teachers engage school administrators' to plan DBI lessons;4. Teachers use different strategies to create DBI lesson plans;5. Teachers revisit prior DBI challenges before implementing new lesson plans;6. Teachers use data from their experience using DBI;7. Teachers acknowledge that they need training to create DBI lesson plans;8. Teachers describe their experience of successful and failed attempts with DBI;9. Teachers describe students' behaviors and attitudes towards DBI;10. Teachers describe the most frequently used DBI components;11. Teachers describe the benefits they experience with DBI;12. Teachers describe the school's perception of DBI in the classroom. (PsycInfo Database Record (c) 2022 APA, all rights reserved)

Everything's going according to Plan(demic): a cultural sociological approach to conspiracy theorizing.

In this article, I examine the case of a viral film entitled "Plandemic," its sequel, and the epidemiologist that is its main subject, and develop a cultural sociology of conspiracy theorizing through the concept of "performative conspiracy." I argue that the Plandemic case represents a cultural performance within the (ongoing) serious social drama of the Covid-19 pandemic. I focus primarily on the "alternative" narrative put forth by the Plandemic case; however, the (Western/US) "mainstream" narrative becomes clear as well. Both call upon the same sets of binary oppositions, chief among them, science vs. blind faith, truth vs. deception, and evidence vs. supposition. Audiences, who are themselves fragmented and differentiated, are exposed to multiple narrative paths. Within the mainstream, they encounter an apocalyptic-turned romantic story, in which science, evidence, and the truth, the sacred trio, will lift humanity out of perilous danger. Plandemic's alternative narrative begins in a tragic tone and builds apocalyptically into a tale of terror, waged by the very same forces of science, truth, and evidence, to create a "plague of corruption" that will "kill millions." To conclude, I reflect on the potential implications of the increasing popularity of conspiracy theorizing about Covid-19.

Tele-Drama Therapy with Community-Dwelling Older Adults: A Field Training Project.

OBJECTIVES: This paper explores a field training project of tele-drama therapy with community-dwelling older adults during COVID19. It merges three perspectives: the older participants' perspective, the students engaged in the field training, who conducted this remote therapy, and social workers. METHODS: Interviews were conducted with 19 older adults. Focus groups were conducted with 10 drama therapy students and 4 social workers. The data were thematically analyzed. RESULTS: Three themes emerged: the role of drama therapy methods in the therapeutic process, attitudes toward psychotherapy for older adults, and the phone as a therapeutic setting. These themes coalesced into a triangular model associating dramatherapy, tele-psychotherapy and psychotherapy with the older population. A number of obstacles were identified. CONCLUSIONS: The field training project made a dual contribution to the older participants and the students. In addition, it promoted more positive attitudes among the students toward psychotherapy with the older population. CLINICAL IMPLICATIONS: Tele-drama therapy methods appear to promote the therapeutic process with older adults. However, the phone session should be planned in advance in terms of time and place to ensure the participants' privacy. Field training of mental health students with older adults can promote more positive attitudes toward working with the older population.

Effectiveness of Drama-Based Intervention in Improving Mental Health and Well-Being: A Systematic Review and Meta-Analysis during the COVID-19 Pandemic and Post-Pandemic Period.

As a creative form of psychotherapy, drama appears to assist individuals in the COVID-19 pandemic and post-pandemic period in altering crisis conditions and challenging negative perspectives. Drama-based intervention is presented as an option for addressing mental health issues in clinical and general populations by utilising various multidisciplinary sources, such as psychodrama and role playing. In this study, a systematic review and meta-analysis were employed to assess the impact of drama on mental health and well-being during the COVID-19 pandemic and post-pandemic. Four electronic databases (PubMed, Cochrane, Web of Science, and ScienceDirect) were extensively searched from December 2019 to October 2022. Quality assessment and Risk of Bias tool of the Cochrane Collaboration were performed. Using a random effect model, standardised mean difference (SMD) values and 95% confidence intervals (CI) were calculated. In the final analysis, 25 studies involving 797 participants were included. The study revealed that drama-based interventions have the potential to improve mental health (e.g., trauma-related disorders) and well-being (e.g., psychological well-being), which could position drama as an adjunctive method of mental health care. This original review offered the newer, more comprehensive recommendations for drama-based intervention based on evidence.

Influence of Korean and Chinese dramas on Indian university students in the context of COVID-19 lockdown

This paper attempts to make a critical analysis of the influence of Korean and Chinese dramas on university students in India, especially in the backdrop of the COVID-19 lockdown. Considering the current trend of an increasing surge in drama consumption among GenZ, the research attempts to identify both positive and adverse effects of the soaps on different aspects of their lives. The study is premised on a mixed-method online survey, the data of which is analyzed using the Percentage Analysis method and interpreted based on the Mood-Cue Approach in Cognitive Film Theory proposed by Greg M. Smith. Subsequently, the researcher establishes that the lockdown period has provided great opportunities for the young generation of students to explore a wide variety of Korean and Chinese content. And if the factors leading to the adverse effects on the youth are judiciously controlled, these soaps can contribute a lot to the self-betterment of university students in India. © 2022 Asian Media Information and Communication Centre.

Developing Transversal Competencies in the Sociodramatic Space: Narrative of a Curricular Experience in Higher Education

Higher Education plays a decisive role in the training of competent professionals and active, responsible and critical-thinking citizens. In addition to acquiring rigorous technical-scientific knowledge specific to their degree, students are also expected to develop a range of transversal skills essential for a successful academic and professional career. This article aims to narrate an experience of obtaining a Social Education degree. Since its origins, it has been assumed that students in this field should: (a) acquire specific technical-scientific knowledge, (b) get to know themselves as individuals, and (c) develop a set of transversal skills essential to relationships, some of the most salient being active listening, empathic capacity, acceptance and respect for others, trust, curiosity, creativity, confidentiality and a reflective attitude. It thus aggregates a set of Curricular Units whose main purpose is the personal, social and professional development of students, formed within active methodologies. Sociodrama is one such methodology of teaching and learning in the context of two Curricular Units of this degree, and this article focuses on my experience lived within the scope of these units.

THEATRE AND CREATIVE COMMUNICATION DURING COVID-19 PANDEMIC: THE CASE OF NATIONAL KAUNAS DRAMA THEATRE, LITHUANIA

The article deals with the questions of digital communication and theatre during the lock-down in 2020–2021. With the example of the National Kaunas Drama Theatre, Lithuania, it is reve-aled that COVID-19 pandemic forced the cultural sector to experiment and use digital products in new conceptual ways. National Kaunas Drama Theatre proposed their audience an online platform Theatre Onl1ne TV (originally in Lithuanian: Teatras Onl1ne TV), and developed performances which were adapted to the digital environment of the lockdown period: some of the performances were transmitted on Zoom Video Communications platform, especially those for children and ado-lescents, some of them, such as The Flickering, tested new ways of integrating audiences digitally into theatrical action. The latter performance was created for Facebook users, lasted for four evenings and invited them to become co-creators of the story. The analysis reveals that digital theatre communication attracted audiences of younger generations and can be a useful creative tool in developing a relationship with the new generation of theatre-goers. © 2023 The Author(s). Published by Vilnius Gediminas Technical Univers.

Sounding the Polyphonic Cacophony of Macbeth with a Young Jozi Ensemble

Digital theatre-making initiatives that had emerged during Covid-19 lockdowns urged an interrogation of the languages of live theatre when, in South Africa, as the public arena reopened and social interaction resumed, reconfigured notions of theatre-making seemed apt. Reformulating and reimagining the operations of the medium, and the processes through which stage productions evolve, not only applied aspects of successful digital theatre but also aligned with the ideological imperatives of decolonisation. The Joburg Theatre Youth Development Programme production of Macbeth (2021) offered an opportunity to explore soundscape through the interplay of spoken word and non-semantic avian and animal calls. As a point of entry to staging the play, ensemble-based improvisation around developing a soundscape led to a more considered mapping of ornithological images, their connotations and theatrical efficacy. Extended play in generating birdcalls was instrumental in building performers' confidence in transposition and spontaneous translation from English to vernacular languages to give this rendition of Macbeth an edgy, contemporary, local tone. This article documents and addresses the rehearsal processes and some outcomes of the approach that was adopted.