Key Findings: Theater as a Tool for Development/Theatre as a Tool for Development

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One student's personal experience as a part of:

Development Studies:
Human, Community and Environmental

More Than Performers:
Factors for Success in
Theater-for-Development Initiatives
Key Findings

In October 2005, Jayne Cravens completed an investigation of what elements need to be in place before an organization produces a live, in-person performance, or series of performances, as a tool for development, excluding performer training and theater techniques. The investigation was undertaken for TU874 The Development Management Project at the Open University (OU), and relevant theories of development management, as defined and promoted in OU Development Management materials, were used to inform the investigation, with a specific focus on institutional development, inter-organizational collaboration, and trust-building. The research focused on the experiences of those who have coordinated or evaluated theater-for-development (TfD) activities. The majority of the more than 30 TfD initiatives reviewed concentrated on countries in "the South", but the investigation was not limited to such. The investigation approach centered on gathering historical and qualitative data, through a literature survey and a semi-structured interview with TfD practitioners.

The researcher worked from two hypotheses. The researcher concluded, with the submission of the final research project to Open University in October 2005, that there are several factors relating to TfD success outside of performer training and theater techniques:

There are organizational infrastructure requirements, relating to
- having enough staff, paid or otherwise, adequately trained, and fully committed to the project.
- funding and other types of support.
This infrastructure affects not only the undertaking of the TfD performance/activity, but also the sustainability of the organization and the TfD long-term results beyond initial post-performance audience reaction.
Pre-planning is needed, particularly:
- defining a clear and focused purpose for the TfD initiative,
- researching power structures and different perceptions in the community,
- ensuring a shared understanding of key words and concepts, and of both the potential as well as the limitations of the TfD activity
- securing funds and support in advance, and
- creating a way to evaluate the TfD activity regarding long-term impact.
The importance of negotiating and working with other organizations is fundamental to all TfD efforts, and such relationships are often cultivated long before any TfD activity is undertaken. No TfD activity can successfully operate with only the participation of the lead organization, and no networking with other formal or informal groups. Other organizations or groups will participate by providing a venue (or venues) for performances, by promoting the activity to their constituencies, by their own staff or members participation, by providing housing, funding or other support, or by tying the activity into their own development efforts.
TfD should a part of overall development activities, or other non-theater development activities, in order for its impact to live beyond the individual performance/s.
There should be external and internal support for and trust in the TfD initiative before activities are begun, and these efforts must be ongoing, as situations can arise where support or trust must be rebuilt or renegotiated. And
The actions needed for outreach to and trust-building with potential audiences must be undertaken before the performance, to ensure the audience will attend and be receptive to what the performance offers.

In addition, based on the research, TfD success needs:

Strong local connections;
At least one TfD "champion," the early support of key community members, and strong commitment by those undertaking the TfD activity; and
Consideration of the personal wellness for those undertaking the TfD activity in cases of where highly-emotional issues will be addressed.

The recommendation of the researcher is that, when organizations and others offer accounts of TfD initiatives, that they consider detailing, rather than only inferring, non-artistic activities undertaken and their impact on TfD success. These accounts should include information on how activities were staffed, in terms of full-time staff, part-time / short-term paid staff, and entirely volunteer, unpaid staff. This could lead to a greater understanding that success in TfD takes more than actor training and the use of theater techniques, and could lead to more successful TfD endeavors.

The researcher also concludes that more education is needed among practitioners regarding the reasons to involve volunteers in TfD, and how volunteer involvement can be structured and supported to create a volunteer culture of accountability and strong ongoing commitment.

Finally, the research concludes that TfD practitioners should consider defining systems at the start of the process to measure long-term impacts of their activities, beyond initial audience reaction. Inter-organizational relationships would probably play a fundamental role in providing the staffing and systems needed to undertake such evaluation efforts.

The full investigation will be published in an academic journal (I hope).

See More details about this investigation and announcements regarding the publication of the investigation's findings

Questionnaires and further information are NO LONGER BEING ACCEPTED. Thank you to everyone who helped.

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