By Pam Schweitzer

Memory theatre is set seeing and realising the dramatic power in genuine existence tales. It takes verbatim stories because the foundation for theatre scripts, utilizing the reports of older humans as a resource of inventive productions and healing creativity. This ebook is a finished consultant to the character, perform and healing results of memory theatre. Drawing on examples from a variety of real-life case experiences, Pam Schweitzer offers useful suggestion at the strategy of taking an oral background, growing from it a written script and constructing that right into a dramatic creation, on no matter what scale. The booklet outlines 5 elements of key importance that the shape provides: inventive improvement via growing unique productions; cultural improvement, via developing memory theatre in multi-cultural contexts, together with dual-language productions; academic improvement in the course of the intergenerational sharing and enactment of stories; psycho-social improvement for older humans by means of reliving and reshaping prior reviews; and overall healthiness care, through the use of improvised memory drama therapeutically with individuals with dementia and their carers. This publication may be of serious curiosity to theatre staff, social paintings execs and carers of older humans, arts remedy practitioners and scholars in those fields.

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Additional resources for Reminiscence Theatre: Making Theatre from Memories

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Common memories In the 1930s, some of the residents, now in their 80s, had been setting up home as ‘young marrieds’. They remembered buying furniture on the HP (Hire Purchase) and struggling to keep up the payments as wages fluctuated. They remembered the Relieving Officer coming round to their homes and telling them they would need to sell everything of value before they could claim any benefits, and that this often included highly treasured pieces of china handed down over generations or the piano that had been in the family for years as the focus of family celebrations.

19). In the event, we all felt that the play should be a free-standing artistic event, especially as it would be performed to a wide range of audiences and levels of understanding, and that we should not sacrifice the potential emotional and aesthetic impact by breaks for a very different kind of engagement. ) However, we did all recognise the value and importance of exchange with the audience around the issues the play raised and their personal experience of comparable situations. So, built into the touring schedule of this first show and every subsequent production was a minimum of half an hour’s audience discussion time at the end of the performance.

It seems that such concerns were aired in the Fair Old Times Company too. 19). In the event, we all felt that the play should be a free-standing artistic event, especially as it would be performed to a wide range of audiences and levels of understanding, and that we should not sacrifice the potential emotional and aesthetic impact by breaks for a very different kind of engagement. ) However, we did all recognise the value and importance of exchange with the audience around the issues the play raised and their personal experience of comparable situations.

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