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We are all actors: being a citizen is not living in society, it is changing it.


Augusto Boal, Founder of Theatre of the Oppressed

Primary Applied Research Areas

DIRECTING
PERFORMER/PLAYWRIGHT
DEVISED THEATRE MAKER

About my Applied Creative research

Research Focus

Embodying Resilience Through Narrative-Based Theatre and Devised Community-Engaged Performance


Governing Questions

  • How can performance and narrative-based storytelling be used as a vessel for social resilience and resistance?
  • Can this type of embodied argumentation through applied theatre been seen as an alternative way to storytelling and evolving how narratives are shared, remembered, and perhaps incite a dialogue in promoting social justice reform and change without appropriation? 
  • How does this work amplify the intersectionality between activism and creative expression for the 'Global Majority' communities whose narratives have been distorted, forgotten, or mishandled?


Areas of Research

  • Race and Performance
  • Performance as Activism/ Counter-storytelling
  • New Works Development
  • Devised and Community-Engaged Theatre
  • Applied Collaborative Technique 
  • Narrative-based Research—Storytelling, Verbatim Theatre
  • Solo Performance—Development, Performing, & Directing
  • Theatre for Social Change


Modes of Inquiry

Community Engagement/Archival research, script development, improvisation, and devising a piece


Ideological/ Methodological Approach

Theatre of the Oppressed, Augusto Boal

Theatre for Community, Conflict, and Dialogue, Michael Rohd 

Community Engagement Theater methods/practices, Cornerstone Theatre Company

Statement of Research

My aesthetic and artistic efforts are deeply informed by my applied theatre research, which is grounded in Performance as Research (PaR). My primary research focuses on the intersections of Race and Performance, Performance as Activism, and Narrative-based Performance, including both devised theatre and solo or ensemble-based work. Additionally, I explore theatre as a tool for social change, using performance to provoke dialogue and inspire action. My research empowers individuals and community organizations to create art that embodies change, revelation, and resistance. Theatre and the performing arts serve as mirrors to society, reflecting its attitudes and mindsets. They can also function as powerful tools for educating people about their current conditions, fostering awareness and inspiring transformation.


Applied Theatre, or Community-Engaged Theatre, encompasses a diverse array of practices aimed at provoking or shaping social change. As a practitioner, I begin many of my classes and performance projects by asking key questions: What is the story here? How can I best convey it to the audience? How can this work serve the community from within? My artistic praxis is organized into four phases: 1) concept, 2) creation, 3) performance, and 4) documentation.


"Applied Theatre is an umbrella term for the use of theatrical practices and creativity that take participants and audience members further than mainstream theatre, that is often in response to conventional people with real life stories" (Prentki). I have developed a skill set and practice that creates an open forum for both theatrical and non-theatrical individuals to explore their artistic curiosities through Augusto Boal’s Theatre of the Oppressed and improvisational techniques. By offering resources and exercises that encourage the use of personal histories and experiences, I aim to foster a community of artists grounded in confidence and artistic integrity.


My research agenda supports the performative community-engaged initiatives provided through these training programs and provided instructional development in:


  • Identifying & Engaging Community
  • Turning Community Stories into Art (Writing & Design)
  • Collaborative Composition & Performance


“Those who try to separate theatre from politics try to lead us into error.”- Augusto Boal. Through my creative scholarship, I explore social engagement and cultural critique, devising ensemble and solo-based works that examine the adverse effects of violence and injustice, particularly as amplified through social media, on the personal psyche. My work investigates how narrative-based storytelling can serve as a vessel for social resilience and redemption. These projects, titled Drama to Drama: From the Headlines to the Stage, address pressing topics such as racial injustice, gender equality, domestic violence awareness, and diversity/inclusion. Most of my projects are considered ‘works in progress,’ with variables consistently evolving throughout the process. I view the goals achieved as integral to the production itself, not the final product. I believe the creation’s completion is secondary to the collaborative journey of development. In my view, all theatre is both personal and political.


My creative research spans three key areas: directing, performer/playwright, and devised works

Artistic Praxis

Understanding my Artistic Praxis


Every project in my creative work collection will reveal all four components of my artistic practice, varying information according to their context, content, and position.


1) Concept

  • Define project/community entity intent/purpose
  • Identify methodological and/or pedagogical approach(es)
  • If devising a project:
    • Develop Research focus/Governing question(s)
      • Have a question/leading fact/inquiry about a particular issue within a specific community or entity
  • Archival inspiration: newspaper, publications, etc.


2) Creation

  • Create/identify framework device: Autobiographical, Biographical, or Editorial Material
  • Identifying the logistical parameters of the project: length of project, location, target audience, etc.
  • Script development or movement-based material
  • Rehearsal materials: recordings of scene work, monologues; script drafts
  • Dramaturgical inquiry 


3) Performance (or Works-in-Progress model)

  •  Project scripts (outlines, drafts, complete/full scripts)
  • Video recordings of final project performance (if applicable)
  • Project images
  • Critiques of work
    • Peer and external reviews
  • Quantitative and Qualitative Metrics (professional and/or participant)
    • Audience Interaction and feedback, post-show surveys
      • assessing show and process' impact and reception
  • Reflective journaling (before and after project reflective statements)


4) Documentation

  • Archival Materials:
    • Show materials (playbill, posters, production calendars) 
    • Designer renderings (set, costume, lighting, etc.)

Featured Research presentations

"Here Us Out": Methods of Theatre Performance as Activism

Presented as part of the 'Arts in the Library' series hosted by Old Dominion University Libraries, presented by Brittney S. Harris.


Topics Discussed:

  • using performance as a "tool" to challenge existing systems of power, and to illuminate causes, issues, and people who are often oppressed, undermined, or underserved.
  • how to cultivate a more collaborative and creative global society from the ground up
  • defining new interactive tools that merge theatrical performance, community building, and conflict resolution

Personifying Resilience Through Narrative: Performing Pedigree

Presented at the 2023 American Alliance for Theatre and Education National Conference (AATE),  presented by Brittney S. Harris.


Topics Discussed:

  • Performance as Activism: How & Why this Work?
  • Setting the Stage: Performance as Activism Methodologies and Techniques
  • Case Study: Pedigree

Performance and Protest: The Art of Theatre as Activism

Presented as part of the 'Arts in the Library' series hosted by Old Dominion University Libraries,  presented by Brittney S. Harris.


Topics Discussed: 

  • brief exploration of the history of activist theatre; 
  • performance-based strategies employed by activist organizations and social movements; and 
  • how performing artists have taken on social issues and engaged in activism by devising performance-based intervention

****

I utilize the practices and criterion set forth by governing tenure and promotion guidelines of the Association of Theatre in Higher Education (ATHE). ATHE serves as a strong advocate for maintaining that system through the establishing and sustaining of tenure-track and tenured positions for faculty in the field of theatre and performance studies.


Copyright © 2025 Brittney Simone Harris - All Rights Reserved.

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