Empowerment of the Theatre - Dissertation Example

Empowerment of the Theatre Introduction The field of theatre and relative arts is essentially furnished by creativity and critical thinking. The global population is diverse and talented in different ways. Individuals across the globe engage in creative arts for different reasons. While some do this purely for enjoyment, some participate in these arts for economic gains. Yet others are compelled by the cultural and economic environments to engage in the respective social activities. Regardless of the reasons for engagement in these, theatre arts belong to a distinctive field that is fundamental in any social settings. They are not only fulfilling, but play a leading role in enhancing the cultural wellbeing of a given population. When explored optimally, it is rewarding and satisfying both at an individual and community level. As the global environment becomes technologically advanced, this field of specification is increasingly exploring technological advancements to its advantage. Currently, technology is at the centre stage of the field of theatre. Just like other fields of social, cultural and economic importance, the field of theatre arts require empowerment and support in order to thrive. Empowerment in this regard involves financial, infrastructural and moral support. Undoubtedly, there are unique talents within the population that can be explored for economic gain. However, to attain optimal outputs from this, it is imperative for the affected persons to be encouraged and empowered accordingly. At this point, it is worth appreciating that in order for talent to be recognized as such, it needs to be nurtured and developed to maturity. This cannot be realized without the help from different relative institutions and individual personalities with an interest in this field. Thus although theatre arts largely lead to personal fulfilment, affected individuals and theatre institutions need to be supported in different ways in order for both themselves and the community to benefit from their talents. The theatre needs to be empowered because it equally empowers populations in different ways. Through this, local communities are able to present their views to relevant stakeholders. It is used as a ‘societal mirror’ and in most cases, considered to be reflective of the needs of the local populations. Through this, locals are able to articulate their views accordingly. The fact that they can make an impact on societal decision making cannot be disputed. Thus since theatre is an important community empowerment tool, it needs to be empowered too. Background to the Study Theatre is an artistic field that has gained great importance in the social scene in the recent past. It assumes different forms including drama, video productions and music amongst others. In his study, Rohd (1998, p. 63) indicates that theatre is a field of specification that has its roots in the cultural conceptions of global populations. Thus in most instances, relative presentations are reflective of the culture of the respective populations. Increasingly, this field has been explored for economic gains. It lies in the entertainment docket and relative pieces of art are always customized to meet the needs, interests and requirements of the clients. In response to the growing needs of the population, the academic sphere has also contributed to the improvement of this field. In this respect, theatre arts are taught in learning institutions from a very elemental level. This is in a bit to enhance the ability of the students and sharpen their talents. In the long run, they produce products of highest quality and which are very competitive in the market environment. To a great extent, this enables them to not only survive but to also thrive in the entertainment industry. At this point in time, exemplary performance in any field of specification requires an individual to be endowed with essential skills and knowledge. In addition to this, Thompson (2003, p. 52) argues that individuals need to have sufficient resources that can enable them to advance to higher levels. Resources in light of theatre studies can be material, psychological or financial in nature. These should be mobilized accordingly and provided in a timely manner to the relevant individuals. Only then can they be able to benefit the individuals, clients or/and the industry at large. Theatre arts have various stakeholders with varied interests at all levels. Individual artists rely heavily on these stakeholders for support and general empowerment. Statistical evidence indicates that up to 80% of theatre performances source their funds from stakeholders or individuals with a great interest in their talents. Notably, understanding theatre empowerment can go a long way in enhancing optimal performance and increasing relative yields. Theoretical Underpinning and Literature Review Theatre is an important field of specification that seeks to develop an individual’s talent. In the corporate environment, it is classified under the entertainment industry and explored by individuals for personal as well as institutional gain. In the current environment, it is accorded equal importance like other economically oriented industries. In order to perform competitively in the market environment, theatre needs to be empowered accordingly. This gives it the ability to sustain itself and benefit the individual who rely on it both directly and indirectly. Notably, it is a complex field that attracts stakeholders from varied backgrounds. Community theatre has been on the forefront with respect to promoting local talents. Through it, the youth and other minority populations have increasingly become vocal. They use it as a tool to articulate their concerns to various stakeholders. In this way, theatre plays an instrumental role in empowering the local communities. Further, Eskamp (2006) argues that theatre transforms the communities in different ways. In this respect, it cannot be disputed that media in general is very influential. It has role models that are held in high regard by the local populations. Thus the views they present are equally taken seriously by the audience. In this way, theatre has been used by the politicians to garner support from various facets of the population. Its influential characteristic has yielded negative effects too. In most instances, this occurs when negative sentiments are presented to the audience. The increased public cry about promotion of violent themes amongst the young population by theatre attests to this. From a theoretical point of view, the theory of empowerment agrees that for any individual or organization to perform optimally, s/he or it needs to be empowered accordingly. According to the theories of empowerment, the process of empowerment is complex and all inclusive. It refers to the process of improving personal, political or interpersonal ability of an individual or institution. Persons who are empowered are able to take practical actions to improve the holistic wellbeing. Such individuals are efficient and have the abilities and strength to address challenges with ease (Doho, 2007, p. 78). In addition, they can handle situations from critical perspectives and seize opportunities. Their main goal and objective is to enhance their performance and benefit optimally from them. In light of theoretical and conceptual perspectives, a state of empowerment is idyllic. Relative individuals, communities and organizations are independent and perform their duties effectively. They use their abilities and creative and critical thinking skills to address the complexities that face them accordingly. In addition, they use the resources within their disposal to enhance their quality of life. Arguably, such individuals have competencies in their respective fields of specification. In his review, Eskamp (2006, p. 83) found out that respective persons also enjoy doing whatever they are empowered to do. They are satisfied with their pursuits and always work to optimize returns. Indeed, empowerment is liberating. Theoretical views of feminism in this regard ascertain that empowerment is akin to freedom (Doho, 2007, p. 64). Seemingly, women who are empowered have the freedom to exercise their rights. They have freedom to engage in various activities without any restrictions. This facet of the population is free from gender violence, marginalization, cultural imperialism and social exploitation. They have the ability to fight for their rights and ensure that these are exercised accordingly. In addition, they make personal decisions freely because they understand the implications of the same. Put differently, “liberated individuals are well equipped with self-sustaining capacities” (Doho, 2007, p. 62) According to Thompson (2003, p. 54), empowerment is an important aspect that recognizes and appreciates the potential and ability of each person. In this regard, it acknowledges that individuals are endowed with various abilities that should be exploited. Although empowerment also encourages dialogue between and amongst populations that are weak, relative dialogues are greatly influenced by the decisions of the most powerful within the respective societies. The main aim for this is to improve their capacities through participatory approaches. Thompson (2003, p. 54) asserts that “participation is at the core of empowerment oriented dialogues.” Another important goal of empowerment is to improve self-consciousness of populations. In this regard, empowerment enables individuals and organizations to evaluate their capacities and identify ways through which they can improve their quality of life and general wellbeing. This is attained though the process of both reflection and action. By identifying their strengths and weaknesses, respective individuals, populations or organizations devise viable ways through which they can optimize their performance. From this point of view, empowerment is a continuous process that occurs at different stage (Doho, 2007, p. 95). Local theatre promotes community development in different ways. In this regard, it participates actively in charitable activities. In particular, it collects funds that are then used to fund for community projects. In his research, Doho (2007, p. 112) for instance found out that a significant 78% of local projects were either directly or indirectly funded by funds form charitable organizations such as local theatre. The fact that theatre is important in the current society cannot be disputed. For this reason, participants need to be empowered accordingly. This enhances their welfare and equally improves the general wellbeing of the industry. At an individual level, arts play an instrumental role in enhancing the capacities of the artist. In his research, Doho (2007, p. 66) found out that through theatre arts, individuals are able to enhance their public speaking skills. This is because they are given a chance to talk to the audience and at some point convince them. In this regard, it is worth appreciating that theatre arts are participatory in nature. Through public speaking, an individual is able to improve his or her interpersonal skills too. These are essential for peaceful co-existence. Secondly, theatre arts sharpen analytical as well as critical abilities of an individual. In this respect, most of the pieces of arts presented through theatre have important lessons (Kershaw, 1992, p. 86). A significant percentage of plays have moral lessons that writers wish to present to the audience. Through the relative messages, actors or participants also benefit accordingly. Development of analytical and critical thinking skills enables them to resolve their problems. They can be able to come up with solutions to these problems in a timely manner too. In the highly competitive environment, these skills are requisite for successful living. In other words, they enhance the performance of the individual in the social, economic and corporate spheres. Nonetheless, this can only be attained if “relative processes are supported and nurtured in a timely manner” (Thompson, 2003, p. 68). Another important skill that theatre arts nurture pertains to creative and technical writing. Actors develop these skills because of their frequent exposure to the literary pieces that they present to the audience. In general, theatre arts are vital in enhancing the communication skills of an individual. In the current job market, communication skills are requisite for effective functioning. In a typical job market, individuals need these skills to pass their ideas across convincingly. Effective communication is also essential for establishing and nurturing viable relationships within the organization. Using these, an individual is able to relate well with his colleagues or seniors in an organization. This results in a good working environment that is supportive of sustainable growth and development. In the educational environment, Rohd (198, p. 102) posits that the study of theatre arts enables a student to pursue different career paths upon completion. In this respect, theatre studies is a complex field that constitutes theatre arts, law, production, advertising, business and industry, public relations, education, publishing, journalism and technical writing. In the current job environment, diversification of education skills enables one to manoeuvre with ease. Statistical evidence shows that various sectors face the problem of unemployment. Having diverse professional skills “gives an individual a competitive edge in the current job environment” (Thompson, 2003, p. 66). In this respect, theatre studies are vitally important for preparing a student to meet the challenges that characterize the corporate environment. Seemingly, they equip students with varies skills to address complex problems with ease. From a communal point of view, art is all inclusive and encourages all individuals to participate in them in different ways. In their consultative review, Boon and Plastow (2004, p. 72) found out that whether amateur or semi-professional, communities contribute directly to theatre arts. In this sense, they may direct participants or just act as audiences. Through theatre events, a community is able to enhance its performance. From a theoretical view point, such social events foster social interactions. Individuals in these settings are able to understand and appreciate each other. From this consideration, theatre promotes peaceful co-existence amongst the respective community (Boon & Platow, 2004, p. 76). At this point in time, it is worth noting that peaceful conditions are essential for the growth and development of the communities. It is only with such conditions that the community can be able to explore its resources and use the same for development. Relative to this is the recognition that through theatre, it is possible to foster community values and virtues. These are at the centre stage of the moral well-being of a population. It is from the moral values and virtues that communal and organizational laws are developed. In his research, Rohd (1998, p. 74) ascertains that moral values and virtues are held in high regard by a population. They define the culture and belief system of the same. Members of the respective community tend to be proud of the respective values. Fostering them makes the community proud and enhances their social worth. Through theatre arts, aspiring artists within the community collectively come together to hone their abilities” (Boon & Plastow, 2004, p. 82). This encourages the creation of a sense of accomplishment. In this respect, relative performances encourage and nurture a community spirit. This is because the community, crew and the cast work together to accomplish a common goal. At the end of the day, each of the individuals feels satisfied for having contributed in different ways to community development. From an economic perspective, theatre and relative arts are great sources of income (Boon & Plastow, 2004, p. 65). Although relative performances tend to be demanding, participants are able to earn a living and improve their quality of life. Theatre creates jobs for individuals from various backgrounds. It enables them to explore their talents optimally. In addition, it promotes the tourism industry. Through these, the heritage and rich culture of a given country is portrayed to the global population. Seemingly, it contributes to the general gross domestic product of a country. Ultimately, it improves the competitive advantage of a given country. The country becomes recognized across the globe. Based on this popularity, it is able to explore other markets with ease. Certainly, theatre arts contribute significantly to the holistic wellbeing of both individuals and the community. This justifies the need for the field to be empowered accordingly. Empowerment of theatre as an artist field assumes different forms. The main aim of empowerment as indicated earlier is to improve the capacities of the populations and enable them to participate actively in self-development. This gives the weak individuals a chance to participate actively in social development. In addition, it gives them the freedom to pursue their interests without experiencing any form of restrictions. In the modern environment theatre empowerment is pursued by a host of institutions and organizations. Essentially, the government, nongovernmental organizations, corporate institutions, learning institutions and individuals directly empower theatre arts (Thompson, 2003, p. 75). In his review of the role of the government in promoting community development, Eskamp (2006, p. 79) cites “governments are key stakeholders in empowering theatre by providing it with financial aid”. In order to perform theatre arts effectively, relative individuals require financial resources. These resources are used for purchasing the technical instruments that they require. In addition, the financial help acts as an incentive for the respective groups. With sufficient financial returns, they are able to concentrate on development of their talents. This goes a long way in nurturing the artistic talents that the participants have. Besides providing the financial resources for the theatre groups at different levels, governments provide an ideal political environment that supports the development of talent. In this regard, Rohd (1998, p. 66) argues that a “stable political environment allows the theatre groups and individuals to explore their talents”. Such a desirable environment attracts investors who wish to invest in this industry in different ways. In addition, it attracts tourists that wish to sample the cultural heritage of the country. In this sense, the government offers “a lucrative environment for the sustainable growth and development of theatre” (Thompson, 2003, p. 81). Also, the government empowers theatre by providing the respective groups and individuals with the technical resources. In this regard, Boon and Plastow (2004, p.78) assert that the instrumentation used in the theatre environment tends to be very expensive. This has prevented various groups and individuals from exploring this field. The start-up cost is very high and as such, not so many people can afford and be able to maintain the technological instruments. In addition, technological instruments that can produce products of high quality in most cases are very expensive. By providing these to the populations that need them, the government plays a leading role in empowering them. With these, they can be able to attend to other concerns with ease. Also, the government organizes national events that allows the theatre industry to show case its talents. At the national level, nation states participate in international events that seek to show case talent. By allowing and supporting their citizens to participate in this, the government gives relative groups and individuals a chance to compete at these advanced levels. To a great extent, this is a form of cultural popularization that allows the entire world to become aware of the talent that respective groups have (Eskamp, 2006, p. 53). The resultant popularization is instrumental in enabling the affected individuals and groups a chance to venture into international markets. Comparatively, rewards at this level are more. The role of nongovernmental organizations in empowering theatre cannot be under estimated. In this regard, nongovernmental organizations provide funds or individuals that wish to make relative initiatives (Boon & Plastow, 2004, p. 114). Usually, these come in form of grants. Learning institutions on the other hand empower theatre by providing them with learning opportunities. In this regard, they have tailored the curriculum of theatre related studies to be in line with the needs of the clients. Thus they are able to sharpen the skills of the students and improve on their talents. This enhances the competitiveness of the students in the job market. Besides providing quality education, these institutions offer scholarships for individuals who exhibit exemplary talent in theatre arts (Eskamp, 2006, p. 54). By improving on these, learning institutions enhance the performance of the respective persons and makes them responsive to market demands. Findings and Discussion Certainly, theatre empowerment is a social good that needs to be pursued by all relevant stakeholders. Besides the economic, social and cultural benefits, theatre arts are self-satisfying. They have intrinsic benefits and relative talent should be nurtured accordingly. Since the technological instrumentation to be used in theatre is very expensive, governments, non-governmental organizations and individuals should assist deserving individuals and groups. Analysis of relevant literature and secondary information yielded the following findings. Importance of theatre arts In his research, Thompson (2003, p. 69) ascertains that theatre arts are important to both an individual and the community. At an individual level, participation in theatre activities sharpens the communication skills of an individual. In addition, it enables an individual to show case his or her talent at different levels. This popularizes the respective talents and attracts possible investors. At a community level, theatre arts encourage unity and peaceful coexistence. They also enhance teamwork as individuals are willing to work together in order to achieve common goals and objectives (Thompson, 2003, p. 72). Why theatre should be empowered The fact that theatre improves the wellbeing of an individual and that of the entire community justifies its need for empowerment. The economic rewards that are related to engagement in theatre arts are immense. They enhance individual development as well as community wellbeing. Relative rewards contribute significantly to the improvement of the quality of life of the affected individuals. Most importantly, these promote the tourism industry of a specific country. According to Doho (2007, p. 67) tourists come to sample the heritage of the specific country. This to a great extent also improves the country’s overall gross domestic product. For this reasons, theatre should be empowered and supported. How theatre is empowered Essentially, empowerment refers to enhancement or improvement of the capacities of an individual or group of individual in a particular field of specification. In his research, Thompson (2003, p. 132) indicates that empowerment is characterized by freedom to participate freely in different activities. Individuals that are empowered literary have ‘power’ to engage in various activities with ease. Theatre can be empowered in different ways. To begin with, it can be provided with sufficient financial resources to purchase the technological instruments that it requires. It can also be accorded financial incentives in a bid to enhance the morale of the crew as well as cast. Further, it can be supported by educating the actors about theatre and relative performance. This improves their professionalism and hones the artistic skills that participants have. Providing a stable political environment supports activities related to theatre in different ways. In particular, it allows the individuals to explore markets with ease. Most importantly, it popularizes the industry through national and international cultural events that nation states participate in. Notably, individuals also empower theatre by identifying talents and promoting them accordingly. In most instances, these individuals are endowed with resources and have a great interest in promoting theatre. In this regard, they purchase relative products and offer training opportunities to promising actors. In this sense, they nurture talent by improving skills and abilities. Which bodies, agencies or individuals are best positioned to empower theatre? There are various institutions, individuals, and agencies that are best positioned to empower and support theatre. To begin with Boon and Plastow (2004, p. 59) indicate that the local community has the ability to empower theatre in different ways. Besides financial support, the local communities nurture developing talents and cooperate with the groups during the development of films. Of great importance however is the moral support that the local populations accord persons who participate in relative arts. The government can also empower theater in different ways. These include providing them with operational funds, giving them incentives and supporting them through marketing initiatives (Thomson, 2003, p. 119). Nongovernmental organizations empower theatre by providing them with grants. With this financial help, the theater groups are able to enhance their performance. Through social corporate responsibility, the corporate sphere supports theatre activities. In particular, they provide funds to support relative initiatives. In addition, they identify artistic talent at a tender age and nurture it to maturity. Finally, individuals who are interested in respective artistic events support them directly. Critics of theatre empowerment The concept of theatre empowerment often believed to be an essential tool in empowering the community. Socially and economically, theatre is highly beneficial both at individual and organizational level. Theatre takes many forms including, art performance, music, movies, and films. Community theatre empowerment explores social conditions such as oppression and discrimination. However, the extent to which theatre empowerment economically impact the society is limited. Given the negative influences that artistic performances have on the audience, it is noted that theatre empowerment is often criticized."Theatre and drama have existed, and still exist, in a relationship of tension-ridden contradictions (Boon & Plastow, 2004, p.76). To emphasize this state of affairs and consider the whole extent of its implications are the first prerequisite for an adequate understanding of the new and the newest theatre" writes Hans -Thies Lehmann. Increasingly, post-modernity and modernity in the field of theatre have potentially the conventional dramatic pre-eminence within the cultural hierarchy through theatrical exploration which exceeds the representational apparatus commonly used in stage presentation. ("A theatre text is good only insofar if it is unstageable for the theatre as it is." -- Heiner Muller) (Boon & Plastow, 2004, p.76). The ‘post-dramatic theatre’ proposed by Hans-Thies and his colleagues criticises new language and literary drama in theatre and instead advocates for texted theatre whose effects are neither privileged over scenic nor virtualized. Celebrities are often discussed everywhere as they are role model to young personalities. For instance, when Larry King describes how he was prompted to stop smoking after having been diagnosed with cardiac infection, this influences a number of his followers. However, such cases of morally building influences are very limited in the artistic field. In many instances, art and theatre is characterized by rise in the levels of immorality. In particular, Hollywood actors and actress flaws the levels of morality in the society. But the Hollywood not only affects the moral statutes of the community but also demeans the positives. Psychologist believes that through films and movies, theatre potentially influences the spending habit of the audiences as well as their personalities (Epskamp, 2006, p.56). In attempting to entertain audience through movies, music, and films, the auditory and visual performances inspires awe, disgust, laughter, delight, and anger. Movies and performance which glorifies wrongful behaviour degrades good behaviours which negatively affect the personality of the audience through information, opinions, and entertainment. Besides, as observed by economic experts, theatre performances are just but profit-driven ventures with mixed agendas (Thompson, 2003, p.43-5). Therefore, to achieve their business objectives of profitability, performers and artists will venture into moral decadents practices such as sexual practices, violence, smoking and drugs abuse. These characters are later practiced by their audiences who view them as their role models. Hence, the opponents of theatre empowerment believe that by empowering arts and theatre, we are creating increasing the level of immorality in the society. Conclusion Certainly, individuals and groups engaging in theatre need to be empowered in order for them as well as the community to benefit from relative artistic activities. In sum, the competitive nature of the global corporate environment requires individuals to exercise a high degree of creativity. Theatre arts provide the best way through which individuals can explore talent to enhance their quality of life. Through these, they are able to sharpen their communication as well as creative and critical thinking skills. The fact that these are requisite for effective functioning in the current competitive environment cannot be disputed. This study found out that in order for individuals and groups to benefit optimally from theatre arts, this field of specification needs to be empowered accordingly. Empowerment in this case is all encompassing and assumes different modes. Theoretical conceptions define empowerment to be a unique form of liberation. Individuals who are empowered are free and have essential skills and knowledge to pursue their fields with ease. With respect to theatre, empowerment is attained through providing financial help, offering moral support, providing monetary incentives, providing a stable political environment and training the actors and crew accordingly. Theatre deserves to be empowered because of the economic and social benefits that it yields. Besides improving the quality of life of the participants, relative rewards contribute to the gross domestic product of a given country. From the study, governments, nongovernmental organizations, corporate bodies, individuals and learning institutions have the ability to empower theatre. List of References Boon, R. & Plastow, J. (eds) 2004, Theater and empowerment: Community drama on the world stage, Cambridge University Press, Cambridge Doho, G. 2007, People Theater & grassroots empowerment, Africa World Press, USA. Epskamp, K. 2006, Theatre for development: An introduction to context applications and training, Zed Books, London. Kershaw, B. 1992, The politics of performance, Radical theatre as cultural intervention, Routledge, London. Rohd, M. 1998, Theater for community conflict and dialogue, Heinemann, London Thompson, J. 2003, Applied theatre: Bewilderment and beyond, Peter Lang, Bern. Read More