Making Knowledge/Playing Culture: Theatre Festivals as Sites of Experiential Learning

Question

1. What have the authors contributed in "Making knowledge/playing culture: theatre festivals as sites of experiential learning" ?

2. What was the main reason for the group to travel abroad?

3. What is the effect of a dense festival setting on the experience of a show?

4. What are the three main modes of learning engagement that the authors found central to the course?

Accepted Answer

The benefits of experiential learning through festival-based courses can further be compounded when such courses are not isolated, but are part of a regularly programmed cycle, so both students and teachers can learn and reflect on past experiences in order to enrich the content of future courses this paper.

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The need to adhere to set travel and performance schedules also promoted accountability among students, who supported each other (in one case during a minor illness) so the group could make the most of their experience abroad.

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A dense festival setting may serve to heighten the experience of an otherwise “average” show, its reception becoming tied to the excitement of the atmosphere outside.

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The authors will now turn to the three primary modes of experiential learning engagement that the authors found central to the course: nomadic learning, embodied knowledge, and critical making.

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during the Toronto Fringe, students considered productions such as Caryl Churchill’s Love and Information and Sam Steiner’s Lemons, Lemons, Lemons, Lemons, Lemons, which looked at how technology is encroaching on and changing their way of life.

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By examining these materials in class and experiencing the festival in person, students could observe this tension first-hand within the Fringe’s curatorial model, which purports to be all-inclusive through an indiscriminate lottery system yet practices a form of counter-curation to encourage more participation from under-represented artists.

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Fringe shows will often try to steer clear of controversy—almost two thirds of the 2017 Fringe Festival are comedy or dance shows.

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At the start of the course, for instance, the authors looked at98 Making Knowledge/Playing Culture • PP 83-101 • 2019 / 40.1 & 2 • TRIC / RTACdigital festival documents, such as programs and tickets, historical archives, and social media as used for promotion.

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In their course, with regular performance attendance, follow-up discussions, and written assignments the authors found there was a constant iteration akin to Kolb and Fry’s cycle.

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The authors looked at theatre as festivals, as events, with [an] economic lens […] through sound, through set, all these different things, and The authorthink that’s so representative of what The authorgot out of the course as a whole [...].

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And by incorporating critical making through multimedia documentation and prototyping, students can learn practical skills, which concurrently influence their performance reception and their understanding of their own learning processes.

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This became specifically apparent to their students when they noticed that the Toronto Fringe Club tent, a meeting hub for festivalgoers and artists, was located close to a city park in which homeless people and families of ethnic minorities were gathering.

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(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and PerformanceStudies, University of Toronto)This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and FestivalDramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach”as a platform for experiential learning.

Making Knowledge/Playing Culture: Theatre Festivals as Sites of Experiential Learning

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1. What have the authors contributed in "Making knowledge/playing culture: theatre festivals as sites of experiential learning" ?

2. What was the main reason for the group to travel abroad?

3. What is the effect of a dense festival setting on the experience of a show?

4. What are the three main modes of learning engagement that the authors found central to the course?

5. What was the first time students considered a production of the musical?

6. What did the students learn from the Fringe?

7. What is the common type of controversy that the Fringe Festival has encountered?

8. What did the authors look at at the start of the course?

9. What did they find in the course?

10. What was the representative of what you got out of the course?

11. What are the benefits of incorporating critical making into the performing arts?

12. What was the significance of the Toronto Fringe Club tent?

13. What is the project of the Centre for Drama, Theatre and Performance Studies?

References

A thousand plateaus : capitalism and schizophrenia

The Archive and the Repertoire: Performing Cultural Memory in the Americas

Critical Making: Conceptual and Material Studies in Technology and Social Life

Reading the Material Theatre

The Festivalization of Culture

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