This is Me: The Semiotics of the Mask in the Work of the American Geese Theatre Company
John Bergman
Hollins University (United States)
Abstract
As the founder of the Geese Theatre Company USA and co-founder of the Geese Theatre Company UK John Bergman has conducted therapy for male, female and juvenile prison inmates in various places around the world, on many continents (North America, Europe, Australia), for nearly forty years, using transformative power of the theatre. The text traces his creative path, from artistic work in alternative theatres to dramatherapy and art activities in prisons. It reveals the story behind the birth of the original method of working with masks (Geese Theatre Company methods) and its great importance in theatre work with prisoners, both in the United States, on the British Isles (Geese Theatre Company UK), as well as in other countries. John Bergman explains that the method he and his teams used was born of a concrete experience: an interpersonal meeting in which the combination of previously unrecognized individual perspectives led to the discovery of surprising and effective solutions. The contribution of the inmates and their relatives to the birth of the mask, the Geese Theatre Company’s basic tool, is undisputed.
Keywords:
prison theatre, dramatherapy, dramatherapy techniques, social rehabilitation, theatrical maskReferences
Bergman, J. (1995). Life, the Life Event, and Theater: A Personal Narrative on the Use of Drama Therapy with Sex Offenders. In: B. Schwartz, H. Cellini (eds.). The Sex Offender: Corrections, Treatment and Legal Practice. Kingston
Google Scholar
Bergman, J., Hewish, S. (1996). The Violent Illusion: Dramatherapy and the Dangerous Voyage to the Heart of Change. In: M. Leibmann (ed.). Art Approaches to Conflict. London
Google Scholar
Boal, A. (1992). Games For Actors and Non-Actors. London
Google Scholar
Braun, E. (2016`). Meyerhold On Theatre. New York
DOI: https://doi.org/10.5040/9781474230230
Google Scholar
Bush, J., Harris, D., Parker, R. (2016). Cognitive Self-Change: How Offenders Experience the World and What We Can Do About It. Chichester
DOI: https://doi.org/10.1002/9781119106272
Google Scholar
Eldredge, S. A. (1996). Mask Improvisation for Actor Training and Performance: The Compelling Image. Evanston
Google Scholar
Ekman, P., Friesen, W. V. (1997). Nonverbal Behavior. In: P. F. Ostwald (ed.). Communication and Social Interaction. New York
Google Scholar
Ekman, P., Friesen, W. V., Scherer, K. R. (1976). Body Movement and Violence Pitch in Deceptive Interaction. Semiotica, 1, 23-27. DOI: 10.1515/semi.1976.16.1.23
DOI: https://doi.org/10.1515/semi.1976.16.1.23
Google Scholar
Grotowski, J. (1968). Towards A Poor Theatre. New York
DOI: https://doi.org/10.2307/1125118
Google Scholar
Johnstone, K. (1979). Impro: Improvisation and the Theatre. London
Google Scholar
Hartnoll, P. (ed.) (1983). Oxford Companion to the Theatre. Oxford
Google Scholar
Samenow, S., Yochelson, S. (1975). The Criminal Personality, vol. 1: A Profile for Change. New York
Google Scholar
Schwartz, B. (1995). Characteristics and Typologies of Sex Offenders. In: B. Schwartz, H. Cellini (eds.). The Sex Offender: Corrections, Treatment and Legal Practice. Kingston
Google Scholar
(2005). Tréteaux Libres, Genève. In: A. Kotte (ed.). Dictionnaire du théâtre en Suisse, vol. 3. Zurich
Google Scholar
Authors
John BergmanHollins University United States
Statistics
Abstract views: 355PDF downloads: 214
License
Copyright (c) 2019 John Bergman
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
The author grants a royalty-free nonexclusive license (CC BY 4.0) to use the article in Pamiętnik Teatralny, retains full copyright, and agrees to identify the work as first having been published in Pamiętnik Teatralny should it be published or used again (download licence agreement). By submitting an article the author agrees to make it available under CC BY 4.0 license.
From issue 1/2018 to 3/2022 all articles were published under a Creative Commons license CC BY-NC-ND 4.0. During this period the authors granted a royalty-free nonexclusive license (CC BY-ND 4.0) to use their article in Pamiętnik Teatralny, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.