MSU Communications Identity Journal Reflection

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To this point, we’ve addressed a number of iterations of identity expressed through theatre. Last session we reviewed:  a) Imperial Theatres: designed to put forward an identity desired by one monarch or imperial leadership  b) Early national theatres: Worked from the notion of “if we build it… we’ll be recognized.”  Companies like Hamburg National in Germany worked against the imperial forces to try and carve a new identity unique to a geography or community (German language theatre for Germans in German spaces, etc.  Different countries took this in different ways such as Sweden who placed national theatres across their nation to represent the different regions of the country. This was meant to create a unified approach by offering additional access.  c) Next Stage: companies such as Moscow Art Theatre, The Abbey established a goal to put artistic freedom and artistic representation of excellence as the paramount goal of their theatres. Both were somewhat guided into national status against or in contrast to their goals.  The Royal National put forward British excellence in theatre as the primary mode of projecting influence.  d) Postcolonial theatre in Latin America in the mid 20th century pushed back against centralized, dominant structures by organizing mass festivals uniting people from different communities and nations in the pursuit of democratizing theatre access and purpose.  e) Agosto Boal sought to spark and inspire revolution against colonial influence by at first using classic works to regain agency in storytelling. He then built a community of spectator/actors where spectators were given the ability to interrogate, change, and alter the perspectives of a theatrical work on the spot based on their needs. This was meant to use the tools of the colonial against the colonial power.  Terms: Arena, Forum Theatre, Theatre of the Oppressed  f) Wole Soyinka and others led the postcolonial response to theatre and identity by utilizing pre-colonial myths as the basis for questioning current national identity and circumstances. Soyinka encouraged swifter pushback and reclamation of identity and criticized his own nation for continuing patterns of oppression.  His writings empowered a theatre that sought national identity through the local and the indigenous voices of a nation.  2) In an identity “journal” reflect on how you are synthesizing the theatrical connection to national identity at this point.  Think about and consider such questions (though consider any you wish) as:       a) What means of national theatre/identity resonate for you in their impact?       b) How do sociopolitical elements play into the determination of a theatrical response? Where does economic and social inequality come in?  How does colonialism affect the choice of national theatre output for colonizer/colonized?          c) When is a central building important, when is the opposite important?       d) Which artists and stories have inspired you? Which make you feel uneasy?       e) Which models describe the national theatre that you created?  3) This can be as personal or as scholarly as you wish.  Think of this reflection as an assessment of your definition of national identity and theatredhz’s purpose in that identity.  https://achievement.org/achiever/wole-soyinka/https://www.youtube.com/watch?v=N6fTNv_waV0