Dani Snyder-Young
Datos Biográficos
| ID | 143474 |
|---|---|
| NOMBRE | Dani Snyder-Young |
| NOMBRES | Dani |
| APELLIDO | Snyder-Young |
| FIRMA | SNYDER-YOUNG D |
| AFILIACIONES | Illinois Wesleyan University |
| ORCID | 0000-0002-8799-3839 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 10 |
| TOTAL DE CITAS | 19 |
| TOTAL COMO AUTOR | 10 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2010 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2024 |
| ÍNDICE H | 2 |
Viewpoints/Points of View
Data now plays a central role in civic life and community practices. This has created a pressing need for new forms of translation and sense-making that can engage diverse publics. Research-based Theatre (RbT) has proven to be an effective approach to delivering qualitative data to community stakeholders. We extend this tradition by proposing “community-engaged data theatre”. This approach translates quantitative data into theatrical language to …
Let Others Love You Back to Health’
Recovery capital and collaborative theatre making
Improbable Players (IP) has been creating applied theatre for substance use disorder prevention since 1984, training more than 200 sober actor/teaching artists to perform plays and facilitate workshops addressing addiction, alcoholism, and the opioid crisis. The company operates, for its actors, as a long-term arts- integrated peer recovery support service and mutual support group for recovery from substance addiction, increasing their recovery c…
Procedurally Authored Performances of Mindful Practice
Relaxation, when produced by participating in a theatre-for-one piece, requires work. From March to May 2020, with much of the world under a stay-at-home advisory to mitigate the spread of Covid-19, three performances carved out restorative spaces. These theatre-for-one pieces give participants rules to follow to ostensibly resist the neoliberal drive to productivity; yet those same rules structure acts of rest as productive under neoliberalism
We're All in This Together
The digital performances forwarding discourses of "we're all in it together" proliferated in the opening months of the COVID-19 pandemic, performing the social legibility of pain and loss within the public sphere. The body takes on an indexical force in such performances, constructing a symbolic community defined by the shared experience of sheltering-in-place. This performs social distancing, culturally acclimating audiences to a world in which …
Performing Quarantined Isolation in the Spring of 2020
Performing Quarantined Isolation in the Spring of 2020 Dani Snyder-Young (bio) In this edition of Theatre Journal, I examine two digital performances commissioned and premiering within the context of quarantined isolation in April and May 2020: Mike Sears and Lisa Berger's Ancient, which kicked off the La Jolla Playhouse's Digital WOW Festival,1 and Emily Mast and Yehuda Duenyas' How Are We, which was commissioned and presented as part of the Ona…
Gaps, silences and comfort zones
This article explores prevailing rhetoric in published scholarship in the field of educational drama and applied theatre, responding to O'Toole's call to investigate if researchers in the field are ‘missing something vital by staying in our comfort zones’. He noted a ‘serious need for more usable, broad-based, and reliable base-line data to use for policy change and as starters for our research’ after reviewing the abstracts of the 86 sessions pr…
Rehearsals for revolution? Theatre of the Oppressed, dominant discourses, and democratic tensions
Theatre of the Oppressed was conceived by Brazilian theatre director and theorist Augusto Boal as a ‘rehearsal for revolution’; it hinges on participants' power to select material for inquiry and frame, shape, script, and perform stories of problems/oppressions in their own lives and communities. In a 12-week-long study I co-facilitated in the drama classroom of an urban charter school in the Autumn of 2007, six girls and two boys framed problems…
Here to Tell Her Story
This article examines the debate between honoring the agency of the teller of personal stories and honoring the stories themselves as legitimate objects of critical inquiry. It takes an autoethnographic monologue of a woman who has recently experienced homelessness from zAmya Theatre Project's community-based play Housed and Homeless (From the Very Same Cup) as an extended case study and employs multiple existing models of analyzing autoethnograp…
"Beyond "an Aesthetic of Objectivity
This article is about the ways in which a dominant "aesthetic of objectivity" (Denzin, 2003, p. 73) pervades much contemporary performance ethnography and scholarly performance text, subverting many scholars' stated desires to use aesthetic forms to critique hegemonic discourses and democratize scholarship. First, I will define the dominant "aesthetic of objectivity" as it applies to performance ethnography and performance texts and trace its ori…
"Beyond "an Aesthetic of Objectivity
This article is about the ways in which a dominant "aesthetic of objectivity" (Denzin, 2003, p. 73) pervades much contemporary performance ethnography and scholarly performance text, subverting many scholars' stated desires to use aesthetic forms to critique hegemonic discourses and democratize scholarship. First, I will define the dominant "aesthetic of objectivity" as it applies to performance ethnography and performance texts and trace its ori…
Here to Tell Her Story
This article examines the debate between honoring the agency of the teller of personal stories and honoring the stories themselves as legitimate objects of critical inquiry. It takes an autoethnographic monologue of a woman who has recently experienced homelessness from zAmya Theatre Project's community-based play Housed and Homeless (From the Very Same Cup) as an extended case study and employs multiple existing models of analyzing autoethnograp…
Let Others Love You Back to Health’
"Beyond "an Aesthetic of Objectivity
This article is about the ways in which a dominant "aesthetic of objectivity" (Denzin, 2003, p. 73) pervades much contemporary performance ethnography and scholarly performance text, subverting many scholars' stated desires to use aesthetic forms to critique hegemonic discourses and democratize scholarship. First, I will define the dominant "aesthetic of objectivity" as it applies to performance ethnography and performance texts and trace its ori…
Rehearsals for revolution? Theatre of the Oppressed, dominant discourses, and democratic tensions
Theatre of the Oppressed was conceived by Brazilian theatre director and theorist Augusto Boal as a ‘rehearsal for revolution’; it hinges on participants' power to select material for inquiry and frame, shape, script, and perform stories of problems/oppressions in their own lives and communities. In a 12-week-long study I co-facilitated in the drama classroom of an urban charter school in the Autumn of 2007, six girls and two boys framed problems…
Here to Tell Her Story
This article examines the debate between honoring the agency of the teller of personal stories and honoring the stories themselves as legitimate objects of critical inquiry. It takes an autoethnographic monologue of a woman who has recently experienced homelessness from zAmya Theatre Project's community-based play Housed and Homeless (From the Very Same Cup) as an extended case study and employs multiple existing models of analyzing autoethnograp…
Gaps, silences and comfort zones
This article explores prevailing rhetoric in published scholarship in the field of educational drama and applied theatre, responding to O'Toole's call to investigate if researchers in the field are ‘missing something vital by staying in our comfort zones’. He noted a ‘serious need for more usable, broad-based, and reliable base-line data to use for policy change and as starters for our research’ after reviewing the abstracts of the 86 sessions pr…
Recovery capital and collaborative theatre making
Improbable Players (IP) has been creating applied theatre for substance use disorder prevention since 1984, training more than 200 sober actor/teaching artists to perform plays and facilitate workshops addressing addiction, alcoholism, and the opioid crisis. The company operates, for its actors, as a long-term arts- integrated peer recovery support service and mutual support group for recovery from substance addiction, increasing their recovery c…
Procedurally Authored Performances of Mindful Practice
Relaxation, when produced by participating in a theatre-for-one piece, requires work. From March to May 2020, with much of the world under a stay-at-home advisory to mitigate the spread of Covid-19, three performances carved out restorative spaces. These theatre-for-one pieces give participants rules to follow to ostensibly resist the neoliberal drive to productivity; yet those same rules structure acts of rest as productive under neoliberalism
We're All in This Together
The digital performances forwarding discourses of "we're all in it together" proliferated in the opening months of the COVID-19 pandemic, performing the social legibility of pain and loss within the public sphere. The body takes on an indexical force in such performances, constructing a symbolic community defined by the shared experience of sheltering-in-place. This performs social distancing, culturally acclimating audiences to a world in which …
Performing Quarantined Isolation in the Spring of 2020
Performing Quarantined Isolation in the Spring of 2020 Dani Snyder-Young (bio) In this edition of Theatre Journal, I examine two digital performances commissioned and premiering within the context of quarantined isolation in April and May 2020: Mike Sears and Lisa Berger's Ancient, which kicked off the La Jolla Playhouse's Digital WOW Festival,1 and Emily Mast and Yehuda Duenyas' How Are We, which was commissioned and presented as part of the Ona…
Let Others Love You Back to Health’
Viewpoints/Points of View
Data now plays a central role in civic life and community practices. This has created a pressing need for new forms of translation and sense-making that can engage diverse publics. Research-based Theatre (RbT) has proven to be an effective approach to delivering qualitative data to community stakeholders. We extend this tradition by proposing “community-engaged data theatre”. This approach translates quantitative data into theatrical language to …
Art (9 obras) · Sociology (9 obras) · Theatre and Performance Studies (8 obras) · Visual arts (7 obras) · Aesthetics (6 obras) · Participatory Visual Research Methods (6 obras) · Psychology (5 obras) · Art Therapy and Mental Health (4 obras) · Law (4 obras) · Media studies (4 obras)