志异 Draft by Drama box december 2013 (english) | Page 55

ce -

thers has a
on the self. In
with others, there
eived order of
en one begins to
the social space is
studying. Who is in
and what are
amongst these
portantly, how
ts perceive the
ps? How much of
hared is real and
gined? To what
es change during
project?

–
actual or absolute
space, as we know it, is
a representation of the
relationships of those
living in it.
–
the theatre as public space Reminiscence Theatre can be
considered a type of community
theatre – a form of theatre
which is made by and intended
for members of a particular
community. This theatre in question
is a public space for this community
to share its issues, concerns, stories
and narratives. In this space,
memories are presented as an
aesthetic whole, with signs and
metaphors that the community
can recognise and appreciate.
As memories become public, they
instantaneously become external
stimuli for the audience members.
At the same time, the actor is also
performing his own memory and
this memory re-enters his own
mind again.

The performance can be an
event to share stories. But more
importantly, it could be a platform
for the audience can to make
connections to their own lives,
to critically question and re?ect.
The theatre as a physical entity also
has a place in the social order. How
is this theatre space viewed in the
community and society at large?
What is the space usually used for?
Who has ‘control’ of this space?
With the brief exposition of the
various types of spaces that the
personal memories negotiate,
the following section outlines the
different phases of the reminiscence
projects and unpacks the
negotiation process.