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Photo/Objet/Concept ←78 |  79→ Les diapositives comme dispositif de transition Cristina Freire Les diapositives et les associations diapositive-cassette (les dispositifs audiovisuels) ont joué un rôle important de charnières entre cinéma et photographie sur le plan technique et conceptuel, en alliant l’expérimental au documentaire, d’une manière caractéristique de certaines pratiques artistiques des années 1970. La possibilité de créer des assemblages non linéaires et des séquences non narratives, la superposition de plans dans un agencement de projection

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.). New York: Pantheon. Franju, G. (Director). (1958). La tete contre les murs (The keepers) [Motion picture]. France. Freire, P. (1972). Pedagogy of the oppressed. New York: Continuum. Freire, P. (1973). Education for critical consciousness. New York: HarperCollins. Freud, S. (1960). Jokes and their relation to the unconscious (J. Strachey, Trans.). London: Routledge. Fromm, E. (2004). To have or to be? New York: Continuum Books. Fromm, E. (1990). Man for himself: An inquiry into the psychology of ethics. New York: Henry Holt Press. Fromm, E. (1956). The art of loving

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Education’, Research in Drama Education, 5.1, pp. 63–84 Fanon, F. (1986) Black Skin, White Masks (London, Pluto Press) Finn, M. (2001) ‘Celibates in Ivory Tower Find Stardom’, Times Higher Education Supplement, 9 November 2001, pp. 16–17 Bibliography 183 Freire, P. (1970) Pedagogy of the Oppressed (London, Penguin) Foucault, M. (1977) Discipline and Punish: The Birth of the Prison (London, Allen Lane) Gainor, J. E. (1995) Imperialism and Theatre: Essays on World Theatre, Drama and Performance (London, Routledge) Garland, D. (1990) Punishment and Society: A Study in

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, 212, 214, 219, 220, 222, 223 Every Child Matters 38–39, 228 286 Index facilitation 95, 221, 222, 236, 261 critical facilitation 197, 231–234 Family Group Conference 102–103 Fissures 216–217, 261–262 Foucault, Michel 26, 32, 58, 67–70, 73–74, 79, 81–82, 204 Freire, Paulo 4, 9, 32, 67–71, 73–74, 81, 85, 91, 118, 132, 168–169, 261 banking concept, The 70 culture of silence 73 false acts of generosity 71, 87, 90, 91, 164, 168, 197, 262 passive recipients 46–47 processes of conscientisation 84, 114, 151–152, 156 Goffman, Erving 77–81, 85–87 institutional displays 54

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and California: Sage Publications, 2015. p. 328. 39 Freire. The Pedagogy of the Oppressed. 1996. 40 Hendrick. Child Welfare. 2003. p. 190. 41 Ibid. p. 231. The State of State Welfare and Medway STC 33 institutions in the late 20th century, are associated in the minds of communitarians with a crisis in social regulation’.42 The lack of training given to the police, who largely administer youth justice measures, on how to work with children and young people means we have opened the doors to institutional racism and top-down, cultures of physical violence and

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discipline’ position that I discussed in the preface. Simultaneously, however, this constructed and strongly relativist view is challenged by a commitment to the radical humanism of educationalists such as Paulo Freire (Freire, 1970) and the theatre director Augusto Boal (Boal, 1979). A belief in the necessity for social change and a commitment to notions of justice, human rights and equality can never quite be extinguished by an assertion that those values Introduction: ‘Making a Break for it’ 3 are historically specific, partial and relative to the conventions of

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context. This chapter aims to explore these issues through the analysis of three examples or moments taken from larger theatre projects. The chapter will raise certain questions of ethics through these stories, rather than giving a detailed overview of the projects themselves. By doing this I hope to question the appropriateness of using theatre in conf lict situations and set out some tentative points to contribute to the overall debate in the book. The confusions of entering prisons, the search for principles in Freire and Boal, the narrative of loss and the

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domain, we are including the notion of the musician as psychagogue, who prepares people to develop their own sense of The Right. Drama has traditionally had a greater sense of the capacity of the arts to develop the human conscience. The supporters of this view often draw on Paulo Freire, who constantly stressed the fluid and unfinished nature of human consciousness: ‘It is our awareness of being unfinished that makes us educable’ (Freire 1998 p. 58). Freire outlines the human need for conscientisation: In truth, conscientisation is a requirement of our human

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ideal from Boal and Freire, or the echo of a theatre for liberation from anti-Poll-Tax cabarets, is con- structed out of slivers, gestures, memories, actions and marks in much the same way as the body as outlined in chapter one. These lines bind it into other practices and mark it archeologically. It is a palimpsest form that reveals multiple theatrical histories when its surface is scratched, but also it is an emerging form that grows and is re-marked in every new project. This scratching and emerging are for me the current demands on the field. There is much

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–xii Freire, Paulo 2, 15, 17, 25, 96, 114, 116, 121, 148, 152, 158, 177 full account 136–8 FUNAP (Fundação Professor Dr Manoel Pedro Pimentel) 14 funding agency 101, 106 ‘futuritive’ 58–61, 63–4, 69, 70, 72, 74, 76, 77, 82, 83 Galle Prison 3 games 40, 43, 49, 50, 142, 165, 166, 174 Gardner, Viv xi Geertz, Clif ford xxiii Ghana 89, 121 giving voice 6, 8, 162 glacial metaphor 72 group work 8–13, 15–16, 20–1, 68, 82, 125, 140 Goyder, Hugh 143 Grand Canyon 47 Greater Manchester Probation Service 11, 21, 66 Greenwood, Davydd 123–4, 135, 139 Guingame, Jean-Pierre 96–9, 112