Ethnodrama: An Anthology of Reality Theatre

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Johnny Saldaņa
Rowman Altamira, 2005 - Drama - 230 pages
Ethnodrama: An Anthology of Reality Theatre contains seven carefully-selected ethnodramas that best illustrate this emerging genre of arts-based research, a burgeoning but evident trend in the field of theatre production itself. In his introduction to ethnodrama and to the plays themselves, Saldaņa emphasizes how a credible, vivid, and persuasive rendering of a research participant's story as a theatrical performance creates insights for both researcher and audience not possible through conventional qualitative data analysis. With their focus on the personal, immediate and contextual, these plays about marginalized identities, abortion, street life and oppression manage a unique balance between theoretical research and everyday realism.
 

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Contents

the theatre
xiii
An Introduction to Ethnodrama
1
Ethnodramatic Monologue
37
Scenes from Voices in the Rain
39
Scenes from 14
45
Growing Up as a Teacher in the Chicago Public Schools
62
Ethnodramatic Dialogue with Monologue
79
Scenes of Marital Disintegration
81
Wearing the Secret Out
103
Ethnodramatic Extensions
121
Baddies Grubs the Nitty Gritty
123
Street Rat
139
Hidden
180
DRAMATIC MODELS FOR ETHNODRAMA
211
Bibliography
215
About the Contributors
227

The Practice
98

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Page x - The proposition is that performed ethnography may provide more accessible and clearer public explanations of research than is frequently the case with traditional, written report texts (Mienczakowski, 1996). The public performance of ethnography in the argot of its informants may be argued to deacademize the report construction process. Significantly, ethnodrama also returns the ownership, and therefore the power, of the report to its informants as opposed to possessing it on behalf of the academy...
Page x - ... theatre, film, video, ethnography, performance, text' (Denzin, 1997). Incorporated with audience responses this may promote wider understanding for participants. Ethnodramas differ from other forms of performance ethnographic practice because it is their overt intention not just transgressively to blur boundaries but to be a form of public voice ethnography that has emancipatory and educational potential.

About the author (2005)

Johnny Saldaņa is a Professor of Theatre at Arizona State University.

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