The roles and responsibilities of a facilitator

1. Is a game ever just a game in Applied Theatre?

A game is not just a game when it comes to Applied Theatre as there is a major difference between just enjoying theatre and activities as a participant and, as a facilitator having to plan out and structure activities and workshops with different aims and objectives in mind. As well as keeping aims and objectives in mind, facilitators have to plan workshops that everyone will be able to enjoy and participate in (Kelly, 2014).  

In order for a workshop to be well planned out and the structure to be in order, the facilitator must think about what skills and qualities the participants will use in an activity and how that given activity will be a springboard to developing further work. A facilitator must also think about some of the different components when either planning or facilitating a workshop itself. These components are:

• Energy- Energy is to do with high, middle and low energy and effort required of participants in an activity. Sometimes a facilitator must demonstrate through modelling the levels of energy required in an activity to participants so then they know what is expected of them (Kelly, 2014).
• Concentration- The concentration in an activity is to do with the level of attention that is required of the participants in order for them to participate in an activity. The quality of participation can negatively be effected if participants do not have the correct level of concentration (Kelly, 2014).
• Focus- An example when focus is used in an activity is if a group is in a circle then it is low focus. However if someone speaks or does something then the attention is turned to them which is called passing focus (Kelly, 2014).
• Giving instruction- This is to do with the facilitator giving clear and crisp instructions so then the participants know what is required. At times the facilitator could fall into the trap of giving too detailed instructions which then complicates things for the participants. Giving instructions can be done through verbal communication and/or demonstration (Kelly, 2014).
• Timing- The number of participants in a workshop and how the respond to different activities can determine how long it takes to complete an activity (Kelly, 2014).
• Observation- Observation is to do with when participants feedback objective observations, not interpretations of something at the beginning. Afterwards they can make subjective observations (Kelly, 2014).  
• Observing the group- The facilitator may observe the group to see if the participants understand the instructions to an activity. The facilitator may look out for different kinds of body language and facial expressions. Also the facilitator observes the group responses to stimuli they may be given. The groups responses can be verbal or physical (Kelly, 2014).  
• Warm-ups- The warm-ups are the foundations of the workshop and it is a start to meeting the overall objectives and aims. Warm-ups can include vocal and/or physical activities to get everyone ready for the main part of the session (Kelly, 2014).
• Hidden objectives- The facilitator must consider the hidden objectives when planning an activity but the activity needs to be really fun so then the participants do not think about the hidden objectives (Kelly, 2014).
• Adaptability/responding to the group- The facilitator adapts workshops to different groups they facilitate with the hidden objectives kept to mind. Each activity within a workshop can be adapted based on what he facilitator observed in a previous workshop (Kelly, 2014).     
• The rules of a game or activity- This to do with creating rules of a game or activity which increases the concentration of the participants. Also the rules can make an activity more challenging e.g. communicating physically not verbally (Kelly, 2014).  
• Co-facilitating- This is to do with an additional facilitator that helps to facilitate a session. Both facilitators discuss prior to the session on who is taking what activity. Co-facilitating is crucial when working with children under 16 years of age (Kelly, 2014).
• The position of where the facilitator is stood- This is to do with where the facilitator plans to stand for each activity. A facilitator must stand in different places for each activity so then they are near different participants (Kelly, 2014).
• Side coaching- Side coaching is additional notes next to each activity. The facilitator may remind participants different things in an activity e.g. "keep the energy up" (Kelly, 2014)
• 1-10 scale- The 1-10 scale is the level of the effort and commitment required of participants in an activity based on the number mentioned (Kelly, 2014).
• Collective rehearsal- Collective rehearsal is to do with participants working in groups to complete an activity or to create a scene. The facilitator can observe groups more closely when they work together (Kelly, 2014).
• Going beyond the obvious- The facilitator may prompt the participants to go beyond the obvious or easiest response to an activity or instruction (Kelly, 2014).
• Repetition- This is to do with the facilitator asking the participants to do the same activity so then they can start to think more creatively. This may be when they expand on what they done in the same activity previously (Kelly, 2014).  
• Different ways of communication- This is to do with the facilitator using verbal and non-verbal communication when communicating to participants. These ways of communication change depending of the situation. For example, the facilitator can just looking at certain participants that are disrupting the session to indicate that they need to be quiet (Kelly, 2014).
• Kinaesthetic Learning- This type of learning occurs when physical activity takes place. The participants learn about themselves, their bodies and their overall surroundings through physical activity (Kelly, 2014).
• Music and more- This is to do with simple music being used in a workshop or activity to support it (Kelly, 2014).
• Feedback- Feedback is when participants take time after an activity to reflect on what went well and what could be improved on an activity based on their observations. The facilitator can give guidance in this discussion if needed (Kelly, 2014).

An effective workshop will have some of these components embedded in it. If these components are applied then the participants should get the maximum out of a workshop, which results in them remembering it and develop in their own learning.

Overall applied theatre is not just a game, it is more of a kind of resource where the participants and the facilitator learn from each other and explore different kinds of topics, personal and social issues and political issues. The activities and games in an applied theatre session can help participants to gain the skills to deal with day to day life as well as it being a resource to gain information.

2. How would you describe the role of a facilitator?

In generic terms a facilitator must be enthusiastic, determined, inspiring, passionate, considerate, encouraging, kind, polite, open-minded, a leader but not dominate the workshops too much, a guide and someone that is not too  gullible but not someone who doesn't believe anything someone says either. A good facilitator has many of these qualities, in which some of them they have gained through many years of experience.  

On a practical and personal level it is the responsibility of the facilitator to guide a session or workshops in order to allow participants to discover themselves and progress throughout their own personal journey. The facilitator will have their own aims for a workshop or activity but they must not fully give the answers to the participants on what they can learn or discover from an activity as this will limit their own thoughts, feelings and the commitment to take part in activities.

However, it is important for a facilitator to create a safe working environment, otherwise the participants will not take part in activities if they feel unsafe physically or mentally. To make sure the working environment is safe the facilitator must encourage the participants to have respect for themselves and others and to be mindful of the overall safety in and outside the workshop setting. Also when the facilitator introduces new or existing activities or exercises, they should support the participants throughout this and encourage them to take risks and go beyond their comfort zone. The most important thing in this situation is for the facilitator to make sure that the participants do not feel embarrassed by others or the facilitator (Kelly, 2014).

On a more practical level the facilitator must always think about the space that everyone will be working in. For example, in an ideal workshop space it must be well lit and there needs to be plenty of space for a start. The room needs to be uncluttered and there needs to be enough tables and chairs. Also the room needs to have good acoustics and the floor needs to be easy to work on. The most important thing to consider in an ideal space is for no one to interrupt the session as the participants may get distracted and it may ruin the flow of the session (Kelly, 2014).

3. What is the purpose of feedback in an Applied Theatre session?

The purpose of feedback in an Applied Theatre session is to give participants the opportunity to express themselves on what they felt went well in the session or activity, what could be improved on, what they observed in themselves and other people. Also it gives them the opportunity to absorb what has happened and really think about it, to learn from other participants feedback, to discuss solutions to a problem and to respect each others views and opinions. Furthermore, if any of the participants had any concerns with the session or activity, they can express this to the facilitator and put their views across. By giving the participants opportunities to feedback on an activity or workshop, it tells them that their thoughts, feelings and opinions matter and will be taken into consideration for the next session (Kelly, 2014).

Another purpose of feedback in an applied theatre session is for the facilitator to observe the discussion so then they can create a better workshop next time based on the comments expressed. At times the facilitator can guide the discussion but they cannot give the answers on what they feel the participants should of learnt or experienced in the session or activity.  

Reference List

Kelly, D. (2014) Laying the Foundations: A guide to youth drama. Dublin: National Association for Youth Drama. 

Geese Theatre Company: What do they do?

1. Describe in your own words Geese theatres' key theories.
Geese Theatre Company uses four theories in the workshops and activities when working with offenders and people who are at risk of offending. These theories are: Social Learning Theory by Bandura (1977), Cognitive Behaviour Theory, Role Theory and The Mask (Baim, 2002). 

Social Learning Theory

This theory is to do with how learning occurs in a social context (Baim, 2002). The facilitator must consider the following stages in order for there to be effective learning with in the whole group they are facilitating. These stages are: 

1. Assess/self assessment of skills needed

2. Introduction

These skills and mini skills that are identified in the assess/self assessment of skills needed stage are practised through stages or procedures (Baim, 2002).  

3. Modelling

In this stage the facilitator or participants of the group model good and bad behaviour using the skills and mini skills they have practiced in the introduction (Baim, 2002).

4. Multiple practice

This stage is to do with practising the skills in the mini stages. The mini stages and the realistic side of it is increased in difficulty and becomes more challenging. This level of difficulty helps the participants to reinforce the skills they have learnt (Baim, 2002).

5. Testing of a new skill

The skills are tested and then the feedback is given to the participants (Baim, 2002).

6. Real world practice

The participants use their skills in everyday experiences (Baim, 2002).

Cognitive Behaviour Theory

Cognitive Behaviour Theory is the idea of identifying and understanding the participants thoughts about a situation, themselves and others and how this can effect their behaviour. Also this theory focuses on the idea of how changing the participants thoughts and views can have an effect on their behaviour as well. This theory very much applies to offenders as they will have their own pattern of thinking which may need to be modified in order to promote positive change mentally, physically or both. If a facilitator gets the participants to take part in a role play activity then this is one way that could alter the participants pattern of thinking (Baim, 2002).

Role Theory

This theory is the idea of Identifying a roles such as a mother, father, teacher and then identifying associate behaviours liked to that given role. Acquiring a role repertoire and associate behaviour can allow participants to deal with different situations. However, if some participants are uneducated in a specific role, that’s when role theory suggests that they can look up all the things associated with that role and then they can test it out before doing it in real life (Baim, 2002).

The Mask

Geese Theatre Company uses the metaphor of the mask as the main theatrical convention in the majority of their work. When using this theatrical convention in workshops and activities, the facilitator first lifts the mask in order to reveal the hidden thoughts and feelings of the participants, their characters or a combination of the two (Baim, 2002). The facilitator then focuses on the nature of the mask itself and its purpose. Some participants may wear this particular type of mask to feel safe i.e. angry mask. The group could then discuss when using can be useful and when using the mask could not be useful (Baim, 2002).

2. What specifically stood out for you in the Geese theatre reading? ( Give 2 examples, Be specific. Did it make you think about something - if so, what? Did it raise questions for you - if so, what are they?)

On page 21 of the handbook Baim explained about the freeze frame activity and how this has an effect on the participants. In this activity the participants would do a freeze frame based on mugging and their partner would be the victim. Some questions could then be raised such as "How would the victim feel? What would the victim think?" The participant who plays the mugger also would get the opportunity to express what they think or feel before the mugging took place (Baim, 2002). This activity made me feel shocked and amazed because I never thought something as simple as a freeze frame activity could make a person confront themselves and their actions. Also it allows that person to think how the victim felt and the victim got to express how they felt as well. I feel that this activity is powerful and made a statement in this sense. One question I have is as follows: It is stated in the handbook I read that we as facilitators are not therapists. I completely agree with this and understand this. However, how does a facilitator uncover the thoughts, feelings and attitudes of a group member or the group through activities and workshops but without not unveiling too much psychological thoughts as this could be very damaging to that person or the group or anyone with a type of disability or mental health condition?  

Another part of the handbook that really stood out for me was what Baim stated near the beginning of the handbook. He stated:

“Research evidence tells us that not only is it possible to address offending behaviour work through experiential means, but in fact this approach is the very lifeblood of the most effective offending behaviour programs. Effective programs involve the whole person, in heart, mind and action” (Baim, 2002: xii)

This quote really interested me because it made me feel in generic terms that drama can have a positive effect on a persons social development, confidence, self-esteem and it can generally prepare them for the challenges of day to day life. They can even make friends with other people as they take part in activities, workshops and performances. I also feel that drama is one of the art forms that people may find to be a very educational and informative source, so I can see that these are some of the many reasons why the likes of Geese Theatre Company use experimental performances and activities to address offending behaviour. Some questions that has come to mind on this matter is: If drama and other art forms can have many positive benefits for people, why are there soo many cuts to funding which theatre companies heavily rely on to continue their work? Why is drama studies not on the curriculum in primary schools?

3.How does the work of Geese theatre company join up with the wider world of Applied theatre and the idea of dominant narratives?

Geese Theatre Company works with people who offend or at risk of offending so these types of groups are classed as marginalised groups. These groups are given the opportunity to express their thoughts and feelings through workshops, performances and rehearsals in a safe controlled setting. As a result of this, these groups challenge the dominant narratives as it is them communicating their personal thoughts, feelings and issues, not the people in power.

In day to day life some people take in information from the news, advertisements, famous people or high up role models and any other person who is currently in power. Some people believe what they have been told by those in power which may not be fully true. For example, on the news recently Donald Trump has been accused of either sexually harassing women or assaulting them. He argued that the police assume that the defendants who has been arrested are fully guilty, and any information the police gets about the defendants which proves they are not guilty are dismissed. This part of the news is a prime example of how some people make instant assumptions about a situation even though they have not been given the full information. I am not saying Donald Trump is right in what he said. I am also not saying that the news and the women are correct in what they said either. All I think is that society needs to be given the whole and exact story of a situation before they make instant assumptions. Generally I feel in these types of situations, not all marginalised groups of people are given the opportunity to express their views, thoughts and feelings or even the truth about a particular situation so unfortunately society take what information they are given as true.  

At least with theatres such as Geese Theatre Company, Britain's Cardboard Citizens and many others, the groups within them present to audiences and themselves the full truth about current issues, personal issues and many other issues that are happening in our day to day lives. Slowly the truth about different social and political issues are being unveiled to society which is one of the many aims when it comes to applied theatre.

Reference List

Baim, C. (2002) Geese theatre handbook. Winchester: Waterside. 

Part 1: Applied Theatre in Everyday Life: What is Applied Theatre?

1.    How would you describe applied theatre to someone who has not read this introduction or experienced applied theatre in other ways? Working with a partner or a group of three, take turns role playing this conversation.

      Applied Theatre is an broad term for different kinds of theatre and art forms that is performed in a non traditional setting. Applied theatre challenges social and political issues through performances and workshops in order to promote some form of positive change to audiences and communities. The types of theatre that comes under the broad term of applied theatre are: Theatre in Education, Theatre of the Oppressed, Community based Theatre, Prison Theatre, Reminiscence Theatre, Museum Theatre, Theatre for Development, Theatre for Health Education and Popular Theatre (Prendergast and Saxton, 2009) These different kinds of theatre works with marginalised groups including: the poor, disabled and the minorities to give them a voice on their own experiences and issues in a safe and controlled setting. These groups challenge the status quo from time to time as it is them telling the story, not the people in power.     

2.   Re-read the thumbnail descriptions of applied theatre practices pages 1-6. Which of these types of applied theatre most draws your interest? What is it that attracts you to this particular form? Write a reflection that begins with “I could see myself working in this particular area of applied theatre because…”

     Theatre in Education is the type of theatre that draws my interest the most. I could see myself working in this particular area of applied theatre because I like the prospect of being able to facilitate a session, especially in schools and observe the process of the participants own journey, weather big or small. For example, In 2014-15 I had some experience of facilitating sessions as I worked alongside an Educational Outreach Worker to facilitate weekly sessions with a year 6 class at Madly Primary School, Hereford. The primary focus was to support the students with their Literacy and language skills, through the use of different Drama games and activities. One of these activities involved was to create the most important mini scenes in the students chosen fairy tale story. Throughout that year it was very rewarding to see those students grow in confidence, develop their critical thinking skills, express their own views and most importantly have fun. However, at times it was very challenging to either help facilitate or facilitate a session as I had to constantly take into consideration the age range of the group, their abilities and non-abilities, the learning outcomes the children had to meet and many more of other factors. These factors had to be taken into consideration when planning and leading activities. 

      In general I feel that all theatre companies and organisations explores a particular issue or multiple issues through rehearsals, workshops and performances which in theory conveys a message to the audience and participants and promotes positive change. These types of theatres has an element of Theatre in Education within it. Britain's Cardboard Citizens is one of many theatres that puts on productions and projects to educate everyone in some way or form. One of their Theatre in Education projects is called 'Home and Away' which they work on in schools. 'Home and Away' focuses on the current issues Britain is talking about which is refugees asylum seekers and the struggles they go through (Prendergast and Saxton, 2009). This performance is about an Ethiopian refugee living in London. He commits suicide at the end of the performance. At the end of this performance four groups of audiences were invited to create their own positive endings (Prendergast and Saxton, 2009). This performance not only made the audience aware of the current issues, but it also allowed them to perform what the outcomes should be and in theory should change their perspectives on refugees as a whole.

      I would like to work in the field of Theatre in Education more and explore more issues that are not just school related, but issues that are currently going on in the world and in society that need to be addressed and challenged. I would also like to facilitate more groups as every group is different overall. This would give me the challenge of putting in a lot of work and research in order to cater sessions for those groups. Facilitating more sessions will give me the transferable skills I need in order to either become a Drama Teacher or an Education Outreach Worker for a theatre company.  

 

Reference List
Prendergast, M., Saxton, J., eds. (2009) Applied theatre: international case studies and challenges for practice. Bristol: Intellect.