Monday, September 26, 2011

SEVAI Street Theatre – is the key activity of Regional Training and Resource Centre.-Dr.K.Govindaraju

SEVAI Amala trains  Street threatre team on HIV/AIDS Awareness
Street theatre as a form of communication is deeply rooted in the Indian tradition. In recent times this form has been used to propagate social and political messages and to create awareness amongst the masses regarding critical issues. Social Work profession is structured to promote social changes, enhance social functioning and enrich meaning in human relations through empowerment, liberation, inquiry and problem solving. The profession believes in the dignity and worth of every individual for his or her fullest realization of capacities and adjustment with society. Social Work is based on interdisciplinary theories and approaches which are found highly useful for application in social work practices. The Mission of Social Work education is to help trainee professionals develop positive attitude towards individuals and groups in disadvantaged situations by inculcating professional ethics, beliefs in human values and strengths, respect for individuals, integrity, commitment and obligation towards society along with knowledge and competence required for the professional as well as societal development. Street theatre breaks the formal barriers and approaches the people directly. We could meet them in the most unexpected places – behind the vegetable complex, during our evening walk, at the bus stop or perhaps even on the street in front of our office- a group of people, acting out a short skit or play, for anyone who might wish to stop and watch. For them this is a means of reaching people of all strata and creating an awareness of events around them, calling them to change what they believe are the social ailments. These are the street theatre ‘activists.’ Street theatre is a situation where the audience has not come prepared to watch a play, and people may not have much time on hand. These limitations determine the parameters of the plays. They are short. The exchange is close, direct and intimate and, to be more effective, usually loud and larger than life. The script and direction is always significant. In order to draw crowds from all walks of life, the plays are humorous. Songs based on popular catchy tunes are included to add to is appeal. The choreography of the play varies from script to script. The play must be as inexpensive and mobile as possible, since no stage props can be used. As Badal Sircar the noted playwright sums up, “the essential tool of the trade is the human body. The potentially of the human body, the ability to throw one’s voice so that several people can be reached without the aid of a mike, must be explored.” Tracing the need for the development of this form of communication which is sometimes referred to as the third theatre, Badal Sircar analysed the two existing forms- the sophisticated urban theatre borrowed from the British and rooted in western culture and values and the traditional rural theatre. Govin

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