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TRADITIONAL THEATRE AS A MEANS OF COMMUNICATION

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TRADITIONAL THEATRE AS A MEANS OF COMMUNICATION

 

CHAPTER ONE

INTRODUCTION

 

  • Background of the study

Theatre has always been an important means of communication and transforms crowds of theatregoers into an audience connected by a shared moment in front of the stage. As a form of communication and as an interpersonal medium of the moment, theatre brings about intellectual challenges for its viewers, turning them into a public that interpret the performance based on their own social and individual experiences.

This is a seminar where we have invited people from media, social studies and theatre to into possible connectionas between the disciplines and reflect on a crucial topic: how to collaborate in communication with each other and society?

Ibsen International has commissioned GHOSTS 2.0 (based on Henrik Ibsen’s play) in an exciting mix of live theatre and live video, directed by the Chinese promising new theatre director Chong Wang together with the Norwegian architect, scenographer and dramaturge Yngvar Julin. The focus is on Osvald (the young son who is returning to China after several years in New York) where he meets his mother, Miss Alving, who sent him away from home so he shouldn’t witness the darker side of his father’s life and personality. When Osvald returns to China he has to come to terms with the truth of a childhood that has been hidden from him.

Since the early 1990s, a particular convergence between business and theatre has occurred in Germany. Newly established, professional corporate theatre makers have increasingly been hired by companies and business organizations to utilize theatre methods and events, in order to improve employee communication, to facilitate the exchange of diverse forms of information, or to increase the motivation and improve the moods of staff. In this context, these theatre makers use and combine ideas and concepts from the theatrical avant-garde (especially Moreno, Brecht, Boal, and Johnstone). Thus, theatre methods that have been traditionally reserved for art are now imbued with a new functional dimension, one which has a pragmatic appreciation for the economics of change management.

 

The turn of the millennium marked the high point for these new modes of business-oriented theatre. This is evident from the great diversity of publications within economics and related disciplines, which attempted to outline the phenomenon from a perspective of “impact”. These new modes, however, have received very little attention in the fields of theatre and performance studies.

 

Fabian Lempa’s case study will address this gap. The chosen methodology, however, will only engage marginally with questions of effectiveness. Rather, the project will emphasize the ethical, political, and aesthetic issues that emerge from the tension between economics and theatre. The investigation will be based on both long-term practical observation and theoretical analysis.

 

Is it possible to think of corporate theatre as an aesthetic practice or only as a kind of service? Which elements of the theatrical avant-garde form the basis of the methods used in corporate theatre? How does corporate theatre engage with contingent, uncontrollable processes? How do facilitators and participants deal with the fact that interventions are always, ultimately

 

 

  • Statement of the problem

There may have been previous researches in this subject. This work gives further explanations and analysis in traditional theatre as a means of communication

 

  • Objectives of the study

1.To understand the impact of traditional theatre have a strong and significant impact as a means of communication

2.To understand the relationship between traditional theatre and the development of communication

 

  • Research questions
  1. What is the impact of traditional theatre have a strong and significant impact as a means of communication

What is the relationship between traditional theatre and the development of communication

 

  • Research hypothesis

H0: There is no relationship between traditional theatre and the development of communication

 

H1: There is a relationship between traditional theatre and the development of communication

 

 

 

 

 

 

 

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