By Instituto Ikigai.
Theatre is an ancient practice, which Hippocrates already 'prescribed' to his patients. In recent years, also thanks to the efforts of some experts, a new form of theatre has emerged, which understands this art as something at the service of mankind, called Social and Community Theatre.
This theatre is attentive to human growth in its cultural-artistic and social dimensions. It has as its founding reference the values and principles of respect for differences whatever they may be; of inclusion and combating inequalities; of individual rights and social responsibility also in relation to wellbeing, quality of life and health; of cognitive, emotional and relational skills useful in life (life skills); of the possibility of being creative and artistic in order to restore beauty to the world....
Social and Community Theatre is a theatrical form that has two aims: a cultural-artistic one, proper to the theatrical dimension, and a social one, concerning the empowerment of the person and of relations between people.
The TSC is characterised by actively involving ordinary people in the creative process of theatre as actors or other roles. A theatre to do rather than to see. Since its inception in the 1970s, this theatre form has taken on different names. It was first called Theatre of Diversity, Theatre of Discomfort, Social Theatre or Social Interaction, until in the 2000s it became Social and Community Theatre. In Europe, the United States and South America, many forms of theatre have developed that operate within disadvantaged social contexts.
In the last 10 to 15 years, a trend has developed within all the performing arts to act through art in social contexts to foster cultural and social participation of citizens. Social Community Theatre aims to involve different social environments and realities, including schools, prisons, mental health centres, but also hospitals, suburbs, companies, and multicultural contexts. The methodology of social theatre is particularly effective in the social inclusion of migrants, as it focuses more on processes than on products, more on actions than on performances, more on the community than on the audience, more on relationships than on mediation. Social theatre differs from old-fashioned, commercial and avant-garde theatre. Social theatre does not have as its primary purpose the aesthetic product, the entertainment market or theatrical research, but rather the public and private construction process of individuals. The other boundary of social theatre is theatre therapy, a term that refers to various expressive techniques and art therapies used by psychologists, psychoanalysts and playwrights to solve the inner and relational problems of individuals or small groups. These interactions between arts knowledges, practices and lifestyles are a sign of a great cultural upheaval taking place in the world and an indication of an intercultural method to peacefully and non-violently build relationships between different religions, communities and people. Specifically, three have been identified
fields of activity of social theatre: the formation of the individual, the construction of groups and communities, the cultural intervention of institutions. The individual itinerary of social theatre can also be defined as one of reconciliation between the individual and society...
Through this artistic form that aims at social inclusion and integration, the Culinary - Ode to Diversity project aims to realise inclusion workshops linked not only to theatrical languages but also to food languages.
Food and scenic art mix and embrace to tell stories of different cultures and experiences, to unite migrants and adult refugees, giving them the opportunity to develop new theatrical and networking skills, sharing their knowledge and past experiences. Food together with theatre is therefore a very powerful tool to tell true life stories by travelling through different colours and scents, giving everyone the chance to get to know the other person and identify with their story.
Referencies:
- Claudio Bernardi, Teatro social, Arte entre la incomodidad y el cuidado
- Pierluigi Musarò, Nikos Papastergiadis, Laura Peja, MIGRACIONES / MEDIACIONES Fomento del diálogo transcultural a través de los medios de comunicación, las artes y la cultura https://comunicazionisociali.vitaepensiero.it/scheda-fascicolo_contenitore_digital/pierluigi-musaro-nikos-papastergiadis-laura-peja/comunicazioni-sociali-2022-1-migrations---mediations-promoting-transcultural-dialogue-through-media-arts-and-culture-001200_2022_0001-371809.html
By IkaiBy IkaBy IkBy IBy ByB- By IkaiClaudio Tortone, DoRS e Alessandra Rossi Ghiglione, Social Community Theatre Centre. Il Teatro Sociale e di Comunità: un teatro che fa bene alle persone. Università degli Studi di Torino. https://www.dors.it/page.php?idarticolo=3182#par_2
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