Gerard (Jerry) Boland
Gerard (Jerry) Boland
PhD (Newcastle, Australia)
MEd, BA, DipEd (New England, Australia)
DipDramaEd&Therapy (Newcastle-Upon-Tyne, UK)
DipMime&Comedy (Dell'Arte, USA)
Jerry Boland is Senior Lecturer for the Bachelor of Communication (Theatre/Media) and an academic supervisor within the Bachelor of Communication (Honours) program and Master of Creative Practice (with specialisations).
A recipient of an Australian Learning & Teaching Council (ALTC) Citation for teaching excellence in 2007 and 2010, he is a Research Fellow of the CSU Education for Practice Institute (EFPI).
Jerry has worked as an educator, performer, and director in a variety of Australian and overseas contexts; including primary, secondary and tertiary settings, conferences and festival events.
See applied theatre research: http://www.academia.edu/4160774/Recovering_the_Radical_in_Performance_-_Conscientizacao_as_a_Model_for_Theatre-Making_Amongst_Event-Specific_Popular_Audiences#20
He studied mime, mask and physical comedy with master teachers Carlo Mazzone-Clementi and Jon Paul Cook at the Dell'Arte International School of Physical Theatre in Blue Lake, California; wood sculpting/leather mask fabrication and commedia dell'arte performance with Antonio Fava in Reggio nell' Emilia, Italy; and drama in education with Dorothy Heathcote at the University of Newcastle-Upon-Tyne.
Academic Specialties: applied theatre research, theatre & drama in education, critical performance ethnography, practice as research into performance, popular entertainment studies, public history & living history performance, confluent educational theory & practice of Paulo Freire, Dorothy Heathcote and Augusto Boal.
Theatre practice: popular theatre & physical comedy, mask making & performance, in-role performance at historic sites & museums, site & theme-specific celebratory events, directing.
Address: School of Communication & Creative Industries
Charles Sturt University - Bathurst
NewSouth Wales, Australia
PhD (Newcastle, Australia)
MEd, BA, DipEd (New England, Australia)
DipDramaEd&Therapy (Newcastle-Upon-Tyne, UK)
DipMime&Comedy (Dell'Arte, USA)
Jerry Boland is Senior Lecturer for the Bachelor of Communication (Theatre/Media) and an academic supervisor within the Bachelor of Communication (Honours) program and Master of Creative Practice (with specialisations).
A recipient of an Australian Learning & Teaching Council (ALTC) Citation for teaching excellence in 2007 and 2010, he is a Research Fellow of the CSU Education for Practice Institute (EFPI).
Jerry has worked as an educator, performer, and director in a variety of Australian and overseas contexts; including primary, secondary and tertiary settings, conferences and festival events.
See applied theatre research: http://www.academia.edu/4160774/Recovering_the_Radical_in_Performance_-_Conscientizacao_as_a_Model_for_Theatre-Making_Amongst_Event-Specific_Popular_Audiences#20
He studied mime, mask and physical comedy with master teachers Carlo Mazzone-Clementi and Jon Paul Cook at the Dell'Arte International School of Physical Theatre in Blue Lake, California; wood sculpting/leather mask fabrication and commedia dell'arte performance with Antonio Fava in Reggio nell' Emilia, Italy; and drama in education with Dorothy Heathcote at the University of Newcastle-Upon-Tyne.
Academic Specialties: applied theatre research, theatre & drama in education, critical performance ethnography, practice as research into performance, popular entertainment studies, public history & living history performance, confluent educational theory & practice of Paulo Freire, Dorothy Heathcote and Augusto Boal.
Theatre practice: popular theatre & physical comedy, mask making & performance, in-role performance at historic sites & museums, site & theme-specific celebratory events, directing.
Address: School of Communication & Creative Industries
Charles Sturt University - Bathurst
NewSouth Wales, Australia
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Papers by Gerard (Jerry) Boland
See: http://purl.library.usyd.edu.au/sup/9781743320273
PhD Thesis by Gerard (Jerry) Boland
This investigation explains how the processual phases of Paulo Freire’s conscientização process were applied as guiding principles within the context of an event-specific theatre-making project that involved multiple cohorts of undergraduate participants over an eight-year period. The thesis is grounded in the empirical experience of their cultural praxis as theatre-makers who collaborated to devise and present street theatre, parades, and cabarets for performance amongst V8 motor sport enthusiasts.
Recent literature concerning critical performance autoethnography is reviewed. Ethnohistoric primary source documentation is used to develop a multi-case study that examines how certain categories of embedded theory - conscientização, the carnivalesque aesthetic, popular theatre theory, and permaculture design principles – contributed to the evolvement of a new approach for guiding the work of devising original entertainments for event-specific popular audiences.
This investigation demonstrates how Baz Kershaw’s theoretical/conceptual categories concerning ‘the dialectical processes of community-based performance’ and ‘the radical in performance’ can be used as analytic tools for critically evaluating instances of ‘performance beyond theatre’. This line of inquiry results in the articulation of new propositions for the processual conduct of devising event-specific entertainments.
Five conclusions concerning practice as research into performance are drawn from this study. (1) When grounded in ethnohistoric primary source documentation, critical performance autoethnography offers theatre practitioners a new epistemic stance for using their own theatre practice as the basis for conducting theoretical/conceptual research into live performance. (2) The conscientização process, as characterised by Paulo Freire, provides a pertinent guide for the conduct of dramaturgical research that is designed to generate original entertainments for event-specific popular audiences. (3) When applied as informing principles for production processes that are designed for these purposes, the conscientização process displays conceptual symmetries with the characteristic phases of theatre production. (4) Kershaw’s propositions concerning ‘the dialectical processes of community-based performance’ and ‘the radical in performance’ represent cogent new principles that can be used for guiding pre-production dramaturgical research as well as providing analytic categories for interrogating performative outcomes. (5) When attention is paid to Kershaw’s ‘points of process’ concerning the ‘radical in performance’, those processes will promote the conscientização of theatre-makers as they labour to devise original entertainments for performance amongst event specific popular audiences.
Keywords: conscientização; conscientisation; devised performance; the ‘radical in performance’; event-specific theatre; popular theatre; the carnivalesque; permaculture design principles; ecologies of performance; qualitative research; theoretical/conceptual research; critical performance autoethnography; embedded multi-case study.
Language: English
Document Type: Research Thesis (PhD)
See: http://purl.library.usyd.edu.au/sup/9781743320273
This investigation explains how the processual phases of Paulo Freire’s conscientização process were applied as guiding principles within the context of an event-specific theatre-making project that involved multiple cohorts of undergraduate participants over an eight-year period. The thesis is grounded in the empirical experience of their cultural praxis as theatre-makers who collaborated to devise and present street theatre, parades, and cabarets for performance amongst V8 motor sport enthusiasts.
Recent literature concerning critical performance autoethnography is reviewed. Ethnohistoric primary source documentation is used to develop a multi-case study that examines how certain categories of embedded theory - conscientização, the carnivalesque aesthetic, popular theatre theory, and permaculture design principles – contributed to the evolvement of a new approach for guiding the work of devising original entertainments for event-specific popular audiences.
This investigation demonstrates how Baz Kershaw’s theoretical/conceptual categories concerning ‘the dialectical processes of community-based performance’ and ‘the radical in performance’ can be used as analytic tools for critically evaluating instances of ‘performance beyond theatre’. This line of inquiry results in the articulation of new propositions for the processual conduct of devising event-specific entertainments.
Five conclusions concerning practice as research into performance are drawn from this study. (1) When grounded in ethnohistoric primary source documentation, critical performance autoethnography offers theatre practitioners a new epistemic stance for using their own theatre practice as the basis for conducting theoretical/conceptual research into live performance. (2) The conscientização process, as characterised by Paulo Freire, provides a pertinent guide for the conduct of dramaturgical research that is designed to generate original entertainments for event-specific popular audiences. (3) When applied as informing principles for production processes that are designed for these purposes, the conscientização process displays conceptual symmetries with the characteristic phases of theatre production. (4) Kershaw’s propositions concerning ‘the dialectical processes of community-based performance’ and ‘the radical in performance’ represent cogent new principles that can be used for guiding pre-production dramaturgical research as well as providing analytic categories for interrogating performative outcomes. (5) When attention is paid to Kershaw’s ‘points of process’ concerning the ‘radical in performance’, those processes will promote the conscientização of theatre-makers as they labour to devise original entertainments for performance amongst event specific popular audiences.
Keywords: conscientização; conscientisation; devised performance; the ‘radical in performance’; event-specific theatre; popular theatre; the carnivalesque; permaculture design principles; ecologies of performance; qualitative research; theoretical/conceptual research; critical performance autoethnography; embedded multi-case study.
Language: English
Document Type: Research Thesis (PhD)