Reading and acting in the world: conversations about empathy

Abstract

We live in a world of normalised violence. New Zealand has high statistics of child abuse and child deaths and in 2003 had one of the highest child-death rates in the OECD. To take serious note of these statistics is to recognise that children in many New Zealand classrooms are likely to have experienced violence directly, or to have witnessed it, or to know that one of their friends or family members has experienced violence at home, school or work. Process drama theorists have stressed the importance of placing empathic imagination and creativity at the centre of learning if we are to build a ‘pro-human society’. Some drama theorists assert that ‘a sense of social justice and equity’ should take empathy beyond catharsis – it should inspire people into action. In process drama, a careful and subtle sequencing of conventions enables participants to move between spectator and actor, and towards transformative social action. This article traces how carefully sequenced conventions in the Everyday Theatre drama contribute to a strengthened empathic imagination in young people.

Keywords:

• violence
• child abuse
• empathy
• process drama
• conventions

Notes

1. Bob Marley, ‘Redemption Song’ on Legend: The Best of Bob Marley and the Wailers, Island Records, 1984.

2. It is acknowledged that students already have some level of emotional wisdom and empathy. This work aims to build on what students already have.