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"QUICK TIPS (--THIS SECTION DOES NOT PRINT--)  This PowerPoint template requires basic PowerPoint (version 2007 or newer) skills. Below is a list of commonly asked questions specific to this template.  If you are using an older version of PowerPoint some template features may not work properly.  Using the template  Verifying the quality of your graphics Go to the VIEW menu and click on ZOOM to set your preferred magnification. This template is at 100% the size of the final poster. All text and graphics will be printed at 100% their size. To see what your poster will look like when printed, set the zoom to 100% and evaluate the quality of all your graphics before you submit your poster for printing.  Using the placeholders To add text to this template click inside a placeholder and type in or paste your text. 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RESEARCH POSTER PRESENTATION DESIGN \u00A9 2012 www.PosterPresentations.com \u00A9 2012 PosterPresentations.com     2117 Fourth Street , Unit C     Berkeley CA 94710     posterpresenter@gmail.com Student discounts are available on our Facebook page. Go to PosterPresentations.com and click on the FB icon.  I am a playwright/actor/teacher and arts based researcher. This is an in- process reflection of work I have been doing with my creative writing, acting and  my teaching of drama and dramatic writing. I have been exploring a few concepts that have been part of my practical understanding as a professional theatre artist for many years. When I work in my tradition of text based theatre, I am in effect in silent conversation with the legacy of artists who have come before me.   My new play is based upon the creative dynamics on John Huston`s biographical film Freud (1962).  The writing process, and my background reading on psychoanalysis and its start as the talking cure, has led me to make certain connections in my artistic and teaching practice.  Empathy I see that my practice of the art of the theatre, inclusive of drama in educational settings, engages personal empathy.  The  work as outlined here demonstrates the background means of that engagement Freudian based Free Association Free Association may still be considered somewhat controversial. The participant speaks aloud freely whatever words and images come to mind. Stanislavski\u2019s concept of Sense Memory and the actor`s Inner Monologue Sense Memory is an actor\u2019s technique for making more physically real the psychological truth of the character`s experience by using the actors own sensual memories of experiences. To explore character and the given circumstances of the play, the actor may improvise a steady stream speak aloud of the inner monologue life of the character. Words into Dramatic Monologues These techniques are used as interpretative tools. Given that they are word based,  I have applied them as creative approaches for writing dramatic monologues or stories, including work with in-service teachers.   Authentic Witness As a supportive alternative to the writer working strictly alone in the early writing, I adapted the concept of the authentic witness, which I discuss in a later section.  PROLOGUE  AND CONTEXT FREE ASSOCIATION AND SENSE MEMORY  \u2022 The authentic witness is a concept adapted from contact improvisational dance and dance therapy for dramatic writing \u2022 People have an inherent need to be recognized, to be seen \u2022 Authentic means to be present as a witness for the writer    Authentic Witness   \u2022 The writer will take the notes and choose to create an order  \u2022 The free association is then further guided by the writer  \u2022 The order may be in the form of the inner thoughts of a character  \u2022 The character is informed  by the sense memory  the writer is choosing to focus on  Options for the Writer \u2022 The Inner Monologue may become a story from the character \u2022 Shared directly with the audience, as performance \u2022 The writer may also choose to turn the work into a story \u2022 The writing begins with the sense memory as expressed with words that arise from the lived experience of the writer\u2019s body.                       Inner Monologue  Excerpt of Empathetic Monologue The following excerpt is from an in-service teacher who was a student in my drama education class. It is used with permission of the author.  R.B.: \u201CWell, what is it this time. Just leave me alone!  What do you want from me? I didn\u2019t do anything! Here it comes. Blah, blah, blah, blah, blah...Are you done yet? Can I go now? See ya later! Wouldn\u2019t want to be ya!  I feel like I do the wrong thing all the time. Do you guys even trust me? For once I would like it if they told me I did a great job at something like helping out a friend in class. I wonder if they even notice these things.  I am trying my best. Just give me a chance to prove myself. Sometimes, I can\u2019t help myself from doing these things. I do feel bad afterwards. I am trying. It\u2019s just so hard sometimes. I try to fit in with my friends but they just don\u2019t seem to understand me\u2026No one seems to understand me except for my mom. I miss my mom. I wish she was here with me. I feel so alone sometimes\u2026.\u201D     QUESTIONS for APPLICATION/DISCUSSION \u2022 What drama strategies might be used to prepare and extend to use this work? \uF076 Mirror Games including Boal\u2019s, Word Tennis, Sensory Walk, Soundscape, Hotseating in varied forms \u2022 What new understanding might be found for teachers of their student\u2019s learning by consciously engaging empathy through dramatic writing? \u2022 How might the tools  of drama and theatre acting craft be applied to the process of creative writing?  \u2022 How would this work be adapted for direct use  by students in the K to  12 setting?   ACKNOWLEDGEMENTS This work is adapted from  concepts  related to Sigmund Freud, Constantine Stanislavski (1936),  Judith Koltai,(1993), the Roots of Empathy research (nd), Augusto Boal, (2001),  and  my own practice.  Images used are in the public domain, accessed through UBC wiki. For a full list of references and acknowledgements, please  contact me at 4macblak@telus.net. Thanks to colleagues and professors within  UBC Faculty of Education, including Carl Leggo, George Belliveau, Lynn Fells and Rita Irwin,  and theatre department professor, Stephen Heatley.  Special thank-you as well to teachers and students  I have worked with,  most recently the LLED Drama in Education class 2012..  If you have comments for this work, please contact me as above.  \u2022 Much of our experience of the world is through our body and the five senses \u2022 Self-guided free association helps the writer to focus on the visceral nature of experiences \u2022 For example, one specific memory of a scent may help make more vivid the flow of phrases and images \u2022 When the flow starts to slow or runs dry or begins to repeat, we bring ourselves back to talking from our physical position in the present moment. \u2022 Ask how is my body physically feeling; what words might I use to describe what my senses are telling me; and then begin the association again    \u2022  Various research shows a greater personal empathy leads to more effective learning. \u2022 In theatre and drama one is asked to experience new people and new ideas through the \u201Cmagic if\u201D \u2022 As in  role play, WHAT IF I am a new mother; a young student struggling to read; or, someone faced with a dilemma that  is outside my range of personal experience\u2014how would I respond? \u2022 Teachers may use Sense Memory Association as a way of seeing their teaching from a particular student\u2019s point-of view. \u2022 Writing an inner monologue from the point-of-view of a student whose trajectory the teacher has altered in some way.  \u2022                  \u2022  The writer sits in a comfortably alert and neutral position \u2022 The writer meditates on her breathing, repeating in a quiet voice, \u201CBreathing in and breathing out\u2026\u201D \u2022 The writer  then starts to freely say some images and phrases \u2022 Once that talk is freely flowing, the writer may choose to guide the images through a chosen memory \u2022 In dance the witness may describe what was shared freely in movement form after it is complete. In the context of creative writing, the witness is also a scribe.   \u2022 For writing, the authentic witness sits in a chair opposite the writer.  \u2022 The authentic witness will supportively watch and listen to the writer  \u2022 Once this is practiced, the witness will scribe  every phrase and image spoken from the writer    GUIDED FREE ASSOCIATION WRITING  Empathetic Awareness through this Technique  Authentic Witness as Scribe  PhD Candidate, UBC LLED, Narrative and Drama Studies D. A. MacKenzie WRITING EMPATHETICALLY THROUGH FREE ASSOCIATION AND SENSE MEMORY "@en
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