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"Oto Ja”. Semiotyka maski w pracy amerykańskiego zespołu Geese Theatre Company

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Bergman J.

Pamiętnik Teatralny

2019

issue 2(270)

53-64

As the founder of the Geese Theatre Company USA and co-founder of the Geese Theatre Company UK John Bergman has conducted therapy for male, female and juvenile prison inmates in various places around the world, on many continents (North America, Europe, Australia), for nearly forty years, using transformative power of the theatre. The text traces his creative path, from artistic work in alternative theatres to dramatherapy and art activities in prisons. It reveals the story behind the birth of the original method of working with masks (Geese Theatre Company methods) and its great importance in theatre work with prisoners, both in the United States, on the British Isles (Geese Theatre Company UK), as well as in other countries. John Bergman explains that the method he and his teams used was born of a concrete experience: an interpersonal meeting in which the combination of previously unrecognized individual perspectives led to the discovery of surprising and effective solutions. The contribution of the inmates and their relatives to the birth of the mask, the Geese Theatre Company’s basic tool, is undisputed.

„Odkluczanie” i „Kobietostan” – kolektywny charakter pracy teatralnej osób pozbawionych wolności

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Bresler A.

Pamiętnik Teatralny

2019

issue 2(270)

65-74

Agnieszka Blesler, who has been running therapeutic projects in prisons: De-exclusion and Feminine-hood, presents a method used in theatre practice in Polish prisons, both male (Wrocław) and female (Krzywaniec). It involves a combination of and necessary complementarity between individual and group effects. Describing the stages of the work suggested to the theatre groups in prisons, Bresler points out those moments in the creative process that were associated with crisis situations and required a collective search for solutions. In many situations, it eventually turned out that difficult moments, adverse circumstances and some difficulties (not stopping the work though) strengthened the groups and helped them to achieve another level in artistic work. The paradox is that the limiting factors stimulated not only individual creators, but also the relationships between them. According to the author, the theatre created in prison acts as a bridge, owing to which the person who is serving a prison sentence can be seen in a different light and can actually return to society after leaving prison. Within the practice the author has described theatre is primarily an effective instrument for individual transformation. It also enables the reconstruction of positive interpersonal relationships. Theatre can alter the attitude of society towards prison inmates and those leaving prisons. The author emphasizes the hugely positive meaning of the presentation of productions created in prisons outside of them, at large, and outside the context of prison art.

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2 Pamiętnik Teatralny

1 Bergman J.

1 Bresler A.

2 2019

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"Oto Ja”. Semiotyka maski w pracy amerykańskiego zespołu Geese Theatre Company

„Odkluczanie” i „Kobietostan” – kolektywny charakter pracy teatralnej osób pozbawionych wolności