The Contemporary Stage
Exploring the Life of Women in Prison in Megan Terry's Play "Babes in the Bighouse"
Paper Presentation in a Themed Session Judith Babnich
In November of 1974 playwright in residence at the Omaha Magic Theatre (OMT), Megan Terry, wrote an original musical play that focused on the struggles of women in prison. Written to raise the attention of the audience members to the harsh realities of incarcerated women, Babes in the Bighouse (Babes) focused on the need for prison reform. At the time. OMT was one of the few working alternative theatres in the country. Founded in 1969 by Jo Ann Schmidman, the theatre consistently produced original musicals for 38 years before Jo Ann and Megan retired in 2007. Alternative theatre, whether it is called experimental, avant garde, or radical is theatre that challenges, the traditional realism of the stage and, in doing so, offers a different approach to the dramatic experience. Babes is a transformational play written in two acts combining poetry, song, dance and continual metamorphosis. While in residence at OMT, both women had been researching the subject of prison life for female prisoners, something that influenced the growth of Babes. Now, 33 years later, have conditions improved for working women? According to Amnesty International’s ‘Women in Prison: A Fact Sheet’, similar issues persist: correctional officials have subjected female inmates to rape, other sexual assault, and groping during body searches. My paper will explore prison reform in the context of Babes contrasted with the accounts of prison conditions for women today.
Playwriting as Data Analysis: Converging Research and Representation
Paper Presentation in a Themed Session Mirna E. Carranza
The goal of this paper is to discuss the role of the researcher in bringing forth new ways of seeing through artful interpretation. This can be understood through the metaphor of the researcher “Breaking habits of seeing/knowing" in the viewer. This suggests that art interrupts viewers, ways of knowing that have been shaped by stereotype and prejudice, for critical consciousness to emerge and to develop new ways to see and engage with the world. Arts are accessible ways to encourage the audience in the processes of creating new meanings and fostering knowledge. This paper postulates that performance ethnography can translate research into theatre as represented through the body. Representation reveals how culture “is done” through a series of daily interactions within specific social and political guidelines. These will be explored through the processes by which transcripts, field notes and memos are coded for inclusion in the representation. Ultimately, the analysis selects the most salient, highest impact and cohesive to produce audience and participant reflexivity. While narrative inquiry, as used in the original data collection, allows for participants to tell their story and the meanings associated, the performance ethnography presents an interpretive monologue intended to communicate the messages- known as “story re-telling.”
Technological Innovations on Stage Management Profession in the Context of Modern Canadian Theatre
Paper Presentation in a Themed Session Irina Tuzlukova
Modern Canadian theatre practice is ‘infinite’ as described by Wagner. It is rooted in longstanding history of multicultural and multiethnic theatrical art and craft; dedication, talent and enthusiasm of people involved. It is inseparable from the dynamic developments in the fields of arts innovation brought about by modern approaches to theatre production, and advancements in technology. This paper explores the effects of advancements in technology on stage management profession in the context of modern Canadian theatre. It starts with looking at the historical roots of stage management in terms of responsibilities and workstyle (e.g. communication style, work hours, etc.). Then, it briefly describes the milestones in the history of modern Canadian theatre practice in relation to stage management and technological innovations, and whether these have affected the responsibilities and style of work of stage managers in terms of introduction of any new responsibilities and work styles, development of the profession and shaping its future. At the end, the impact of technological innovations in modern Canadian theatre are summarized in relation to the professional roles of stage managers, their functions and style of work. The ideas of the importance of documenting and communicating the attributes of stage management as a profession in the contemporary theatrical arts for its better understanding, appreciation and perceived quality enhancement, as well as for filling an important gap in the modern history of the Canadian theatre, will also be shared with the audience.
