Additional Techniques

Process Drama

Process Drama focuses on the action of creating a scene to explore a situation, to promote empathy, and to develop an understanding of complex situations. After learning the background of the situation, participants act out unscripted scenes and imagined exchanges from the (often historical) characters’ points of view. There is no external audience; Process Drama is meant to benefit the actors themselves. It has its roots in dramatic play, where children in every culture create their own imagined worlds. It is a group exercise in improvisation, communication, and storytelling with a single, internal audience – the participants themselves.

For example, rather than hear a lecture about colonialism and its impacts, a group of participants would act out the first contact between explorers and indigenous people. Each side would be asked to think about the lives, goals, and beliefs of people in their society, about what happened leading up to the event, and about the response to new and different ‘others’ in the moment. The performance and analysis of what was said and done opens new doors to learning and new insights into the motivations for and impact of human interaction. This often leads to the discussion of parallel situations in participants’ own lives.

 

Communication Studies

Communication Studies examine the processes of human communication and behavior. The focus of CAT’s work is on the patterns of communication in groups and the power dynamics they represent and support. We look as well at political, economic, and social contexts, interpersonal relationships, and communication across cultures with the goal of understanding and transforming power relations that give rise to oppression. The work explores the competing commitments one often has that inhibit transformative action and examines the ways in which a community can develop public agreements to bolster democratic relationships in order to create progressive social change.

Participatory Action Research

Participatory Action Research (PAR) is an approach to enquiry which has been used since the 1940s. It involves researchers and participants working together to understand a problematic situation and change it for the better. There are many definitions of the approach, which share some common elements. PAR focuses on social change that promotes democracy and challenges inequality, often targeting the needs of a particular group. It is an iterative cycle of research, action and reflection, during which participants seek a greater awareness of their situation in order to take action. PAR uses a range of different methods, both qualitative and quantitative. During CAT workshops, we seek to understand the world together using theatre techniques to ask questions, test answers, and create paths to change.

For booking or additional information, please contact
the Center for Applied Theatre.

Kathleen Ramona Rice Reddy

is a teacher and student of history and culture. Her concern is for increasing knowledge and understanding so that we will have justice for all.

EDUCATION
Elementary and high school on the south side of Chicago where she was a National Merit Scholar. The area was and remains a largely African American part of the city due to redlining and racial segregation.
BA Michigan State University and University of Illinois – Urbana/Champaign. Major in Early Childhood education, minor in social studies.
M.Ed. University of Illinois – Urbana/Champaign.

ADDITIONAL TRAINING
Workshops on understanding unconscious and internalized racism and the history of racism in the US.

TEACHING EXPERIENCE
Teaching positions in Decatur and Urbana, Illinois, and Cedarburg, Grafton, and Shorewood, Wisconsin.
University of Chicago Lab School – Nursery through 2nd grade.

RELATED WORK EXPERIENCE
Kathleen has co-lead workshops and discussions about racism and how to heal our nation.

 

JULIAN BOAL 

Co-founder (with Geo Britto) and pedagogical coordinator of Escola de Teatro Popular (ETP; The School of Popular Theatre, in Rio de Janeiro)

JULIAN BOAL is a teacher, researcher, and practitioner of Theatre of the Oppressed. He has facilitated workshops in more than 25 countries and has collaborated on several international festivals of Theatre of the Oppressed: in India with Jana Sanskriti, in Spain with Pa’tothom, in Portugal with Óprima, in Croatia with the Istrian National Theater, in France with GTO-Paris, and in Brazil with CTO-Rio. Some other groups and movements with whom he has worked closely include MST (the Landless Workers Movement) and MSTB (the Roofless Movement of Bahia) in Brazil and La Dignidad In Argentina. In Paris, he was a founding member of the Ambaata collective, which worked alongside migrant workers, and he also worked with GTO-Paris and Féminisme Enjeux. He participated in the design and realization of the exhibition on Augusto Boal at the Centro Cultural Banco do Brazil in 2015 and curated part of the Utopia International festival, held in Maricá, Brazil, in 2016. He collaborated with Sergio de Carvalho as assistant playwright for two recent plays of Companhia do Latão (São Paulo): Those Who Stay (2015) and The Bread and The Stone (2016). He holds a Master’s degree in History from the Sorbonne (Paris IV) and a Ph.D. from the School of Social Work at the Universidade Federal do Rio de Janeiro. Boal is the author of Images of a Popular Theatre (Hucitec, 2000) and co-editor of the DVD & essay booklet Theatre of the Oppressed in Actions (with Kelly Howe and Scot McElvany, Routledge, 2015) and The Routledge Companion to Theatre of the Oppressed (with Kelly Howe and José Soeiro, Routledge, 2019). He is co-founder (with Geo Britto) and pedagogical coordinator of Escola de Teatro Popular (ETP; The School of Popular Theatre, in Rio de Janeiro), a school run by social movements for social movements, where political unity is practiced at the grassroots level through the practice of theatre. He is also a member of the Instituto Augusto Boal in Rio.

 

S Leigh Thompson

Strategist, facilitator, and Consultant for Go Beyond Diversity

Originally from Omaha, Nebraska I moved to New York in 2005. A white and Native trans queer person with disability, I have spent my entire adult life working at the intersections of art and social justice and equity, utilizing Theatre of the Oppressed techniques and working with the queer and trans* movements. I work with organizations, businesses, community groups, faculty and students to strengthen understanding about power, privilege and oppression and to provide stronger tools to make positive change in the world.

In 2000, I started organizing in Omaha as the voter canvassing coordinator against the so-called Defense of Marriage Amendment. Ever since I have been dedicated to developing and supporting change-makers. I have worked for several non-profits including the ACLU, GLSEN, Race Forward: The Center for Racial Justice Innovation and The Forum Project. I also have worked for large and small for-profit businesses in service, finance and retail industries. As a consultant, I’ve worked with many clients to understand the impacts of systemic power, to develop strong critical analysis to help develop tools for doing good work better. I bring experience training advocates and organizers across the country on non-profit management, legislative advocacy, campaign strategies and engagement and most commonly on positive and effective strategies for addressing power, privilege and oppression in their work.

I hold a BA in Theatre with an emphasis in Directing from the University of Nebraska at Omaha and a individualized Master of Arts from Gallatin at New York University, focusing on utilizing creative participation for political and social change with course work in community studies, public policy, non-profit management and campaign strategies. I have studied Theatre of the Oppressed techniques and other creative pedagogy techniques since the late nineties, working with facilitators from around the world, and have trained with TO’s founder Augusto Boal multiple occasions. I was also a Out in Front Leadership Fellow with Stonewall Community Foundation in 2011. I am proud to have served as a Board Member and Board President of Pedagogy and Theatre of the Oppressed from 2011 to 2018.