Map Brule-Portfolio

Ma’p Brule Players:
Portfolio
Contents
Introduction..................................................................3
LOCATIONS, DATES AND TIMES...........................................3
MA’P BRULE PLAYERS.....................................................4
OBJECTIVES OF THE PROJECT:..............................................6
Celebrate Arts In Action 20th Anniversay.....................6
Stimulating Thought On Social Issues Within
Communities.................................................................6
Creating Problem Solvers .............................................7
Develop Skills As Educators And Community Activists .7
PROCESS..........................................................................8
Stimuli:..........................................................................8
Artistic Director:
Danielle M. Lyndersay PhD
Group Members:
Andre Marsden
Simeon Chris Moodoo
Robert Noel
Lalonde Ochoa
Rawle Peters
Kirsten Shade
Candace Sturge-Dunbar
JUST ONCE!

M a ’ p B r u l e P l a y e r s | 1
Brainstorming: ......................................................................................................................................9
Research:.............................................................................................................................................10
Methodology.......................................................................................................................................11
Just Once Poem...........................................................................................................................................16
Just Once Monologues................................................................................................................................18
Kevin....................................................................................................................................................18
Raj .......................................................................................................................................................20
Richard ................................................................................................................................................21
Jevon ...................................................................................................................................................22
Bob ......................................................................................................................................................23
Kimoy...................................................................................................................................................24
Dolly ....................................................................................................................................................27
Day One: Tabaquite Secondary Performance.............................................................................................28
REFLECTIONS AND SELF-ASSESSMENT .............................................................................................................28
Andre Marsden....................................................................................................................................28
Simeon Moodoo..................................................................................................................................30
Robert Noel .........................................................................................................................................31
Lalonde Ochoa ....................................................................................................................................32
Rawle Peters........................................................................................................................................33
Kirsten Shade ......................................................................................................................................34
Candace Sturge-Dunbar......................................................................................................................35
Day Two Five Rivers Nazarene Church........................................................................................................37
Andre Marsden....................................................................................................................................37
Simeon Moodoo..................................................................................................................................38
Robert Noel .........................................................................................................................................39
Lalonde Ochoa ....................................................................................................................................40
Rawle Peters........................................................................................................................................41
Kirsten Shade.......................................................................................................................................42
Day Three: St. Antony’s College...............................................................................................................44
Andre Marsden ...................................................................................................................................44

Simeon Moodoo..................................................................................................................................46
Robert Noel .........................................................................................................................................47
Lalonde Ochoa ....................................................................................................................................48
Rawle Peters........................................................................................................................................49
Kirsten Shade.......................................................................................................................................50
Day Four: San Souci.....................................................................................................................................52
Andre Marsden....................................................................................................................................52
Simeon Moodoo..................................................................................................................................54
Robert Noel .........................................................................................................................................55
Lalonde Ochoa ....................................................................................................................................56
Rawle Peters .......................................................................................................................................57
Kirsten Shade.......................................................................................................................................57
Limitations and Recommendations ............................................................................................................60
Conclusion...................................................................................................................................................61
Appendix .....................................................................................................................................................63

Introduction
LOCATIONS, DATES AND TIMES
Tabaquite Secondary 19 March 2014 11:00 a.m.
Five Rivers Nazarene 21 March 2014 07:30 p.m.
St. Antony’s College 26 March 2014 11:00 a.m.
Nick’s Bar in San Souci 28 March 2014 08:00 p.m.

MA’P BRULE PLAYERS
 Andre Marsden is a Belizean who is pursuing BA Literatures in English at the University. He is Poet,
Actor, Director, and Playwright. The name of the character he plays is: Kevin.
 Although a ligament injury ended his Football career, Simeon Moodoo’s turned his sights to
academia and is currently in pursuit of a second undergrad degree, he is an Actor, Director,
Educator, Playwright and the founder of a Theatrical Productions and Performance company; He
plays the character known as Raj.
 A Model by profession, Robert Noel plays the character named Richard. Robert is also an Actor,
Director, and Playwright.

 Unlike his character Jervon, Lalonde Ochoa is not a delinquent, upon graduation from his
secondary school he achieved the most outstanding student award. He is a free spirit with many
talents. Acting, Directing, Playwriting, are only a small number of his skills.
 Rawle Peters, plays the character called Bob. Rawle is a Thespian who shuffles studying, working
and family life with much fervour and diligence.
 Kirsten Shade is a national Dragon-boat athlete and coach, she is a good example of how to apply
the skill of multitasking, since she is also a Theatre Arts Major at the University, and she is also
part of Trinidad’s workforce. Kirsten plays Kimoy
 Candace Sturge-Dunbar plays the character called Dolly. Candace is considered the group’s
mother, she cares for us as if we were her own children, if not better. Candy, as we call her, is an
entrepreneur, a single mother of five, an Actor, Stage-manager, Director and Playwright.

OBJECTIVES OF THE PROJECT:
Celebrate Arts In Action 20th Anniversay
Arts in Action is a local Theatre group which stands upon the foundation of educative theatre. This project
aims to recognise the work that the group has produced. For this project, we revived the name and
structure of one of their performances known as “Just Once” which was initially an HIV and AIDS
awareness Community Drama performance. However, we did not recreate the original performance.
Instead new stories, monologues and characters were created in an attempt to address a wider range of
issues. The issues selected were suicide, mental illness, drug abuse, substance abuse, domestic violence,
and responsibility.
Stimulating Thought On Social Issues Within Communities
The project is grounded in the works of Augusto Boal, who, designed a specific method of performing
Community Drama workshops. The main idea of the project is to visit communities and empower them
with the ability to become problem solvers within their own communities.

Creating Problem Solvers
The spectators, through the participatory segment of the workshop, are given the opportunity to suggest
possible solutions to the problems presented. The intension of this process is to combat hopelessness and
help the communities become aware that they can redress their own problems.
Develop Skills As Educators And Community Activists
The project is not only a learning experience for the onlookers, the performers are also learning through
the process because we do not enter the Communities as all-knowing teachers. This means that we are
neither performing for entertainment nor are we indoctrinating the communities. Instead, we enter with
the knowledge that we are merely facilitators of thought and inquiry. Further to this, our knowledge of
Participatory Theatre techniques and strategies are tested through application.

PROCESS
Stimuli:
So you're probably wondering what exactly M'ap Brule means, well, all across the Caribbean we
have a particular way of speaking. You see your partner and you ask them 'How yuh goin?' and
the usual response is “I dey”. Well our friends over in Haiti would ask 'Sac Pase', which means
'How yuh goin.' The response to that would be “M'ap Brule”. But 'M'ap Brule' means more than
just 'I dey'. It literally translates to “I am burning” or “I am on fire”.
We, the M'ap Brule players, see what is going on in our society. We see the hurt, the
pain, the loss, and it affects us. We feel that same hurt, and it fills us up until we too are burning,
and we have to let it out. However, that fire doesn't always have to be destructive. Hopefully
our flame will guide all participants, both players and audience, towards a place of healing.
The focus on Community Drama is a direct consequence of many factors; two main factors
are the nature of the Theatre-in-Education course and the intention to celebrate Arts In Action’s
twentieth anniversary and the services they have rendered unto the society. Our work was also
indirectly shaped by our previous involvement with Jouvay Ayiti. Jouvay Ayiti is a project that
draws on the rich creative and cultural heritage of Haitian society (as evidenced in their music,
religious constructs and art) to generate a carnival experience that is both educative and

transformative. The project focuses on the active engagement of students and the wider public
in the development of imagery within the practice of Mas that stimulates the critical
consideration of the popular representations and misconceptions of Haiti.
Consequently, the Ma’p Brule Players as a group is the child of Arts In Action and Jouvay
Ayiti. From these parents we gained our style of work and the sensibilities of social issues within
and beyond The Republic of Trinidad and Tobago.
Brainstorming:
Arts in Action 20th
Anniversary-20 spots Desensitization
Domestic Violence Use of Technology
Drug Abuse Styles of Educative Theatre
Bullying Sexually transmitted diseases
Substance Abuse Personal Experiences
Violent Crime Haitian Greeting and Response
Lack of Parental guidance Mental illness
Teenage pregnancy Victims of Loss

Peer pressure Lack of Values
Self-Abuse Absence of Parents
Research:
“Theatre-in-Education”, “Participatory Theatre” and “Community drama” are terms that were
new to most of us. Embarked on a quest for knowledge which led us to various sources beyond
the weekly lectures; we viewed a video of an Arts in Action performance called “Just Once”.
Further to this we examined the Arts in Action Technique Booklet: Ways of Working: Roles and
Conventions, compiled by Dr. Dani Lyndersay, to get a sense of how to do Theatre-in-Education.
We discovered the basic elements of Theatre-in-Education work: group synergy, making
a contract, building belief, psychological distance, Facilitation, conventions and strategies.
Additionally, we explored various books that deal specifically with community drama, like Paulo
Freire’s Pedagogy of the Oppressed, Augusto Boal’s Theatre of the Oppressed and Legislative
Theatre, Michael Rohd’s Theatre for Community Conflict and Dialogue.

Action Research:
Action research is to contribute to the practical concerns of people in an immediate problematic situation,
and to further the goals of social science simultaneously. There is a dual commitment in action research
to study a system and concurrently to collaborate with member of the system in changing it in what is
together regarded as a desirable direction. Accomplishing this twin goal requires the active collaboration
of researcher and client and thus it stresses the importance of co-learning.
Simply put:
1. Learning by doing
2. Learning in social context
3. Identify a problem, resolve it, successful efforts, researcher writes about process/outcome
4. Study the problem systematically and ensure the intervention is informed by theoretical
considerations
5. The research takes place in real world situations, aim to solve real problems
Methodology
The Ma’p Brule Players conducted a hybrid version of action research - participatory,
collaborative inquiry and emancipatory research in an attempt to learn the methodologies of
Theatre-in-Education. This process consists of learning by doing, learning in social context and
identifying a problem, attempting to resolve it, and the researcher writes about the process
and/or outcome. The problem is studied systematically and the intervention is informed by
theoretical considerations. Then the research takes place in real world situations with the aim to
solve real problems.

We wanted the performance to also be a part of the anniversary celebrations of Arts in
Action. Research went into finding out about Arts in Action performances done in the past. Arts
in Action performed a touring production called “Just Once”. There was a recording available for
viewing and it is there we saw the structure of the multiple monologues in a single performance.
However the issue for that performance was HIV/AIDS and the group decided to use the general
structure of the performance but make it our own by exploring contemporary issues.
The performance design needed a specific structure. It needed to grab the audience’s
attention while simultaneously introducing the group. The group’s title is represented in popular
and traditional music. The group used the call and response nature of the title to create an
opening. The opening included a ritualistic confirmation of the performance space. The team
entered the space and energetically circled the performance area and welcomed the audience to
join in the song. This ritual meant that the group has entered the space of the audience and is
asking permission to perform as well as asking for interaction.
The formal welcome by the facilitator followed this ritual. The facilitator introduced the
group and stated the objectives of the visit in addition to signing the verbal contracts/
agreements. The facilitator then announces the beginning of the performance. All performers
turn backs to the audience, revealing the “Just Once” printed on each T-shirt back. This is shown
for about five seconds. This is another ritual in performance. It focuses the audience on the title
of the performance, making that stamp on the mind. The facilitator then performed the “Just

once” poem. The poem’s structure uses the device of repetition to emphasis the theme “Just
Once”.
Then six monologues are presented, after which, the facilitator invites the spectators to
choose the situation they would like to help resolve. The chosen characters are hot-seated, which
allows for questions to be asked by the audience with the purpose of revealing more information
about the issue. After sufficient information is uncovered, the facilitator takes suggestions from
the spectators in relation to redressing the problem. Since in real life there are no ‘magic wands’
and no social issue or problem has easy solutions. Additionally, since no one solution could be
used universally; through cues from the facilitator, actors engage in role playing. Through the use
of the prop and costume tables, assume characters who exist in the life of the character’s whose
situation is being examined. These characters act out the suggested solutions but they also know
that they have to find a way to make that solution be ineffective so that more suggestions could
be explored. Another techniques used was “Challenge” which allows for three members of the
audience to suggest possible solutions to character’s situation. The character does not respond
except to internally acknowledge the suggestions.
To end of the workshop the group reassembles and teaches the call and respond song to
the audience, after which, the spectators get to know about the actors through very brief
biographies done by another members of the group. Each member was responsible for
introducing another member. This marks the end of the workshop.

Control Mechanisms:
1. Verbal Contract, this is an agreement made between the Facilitator and
the spectators before the workshop begins, in an attempt ensure their
attention to and participation in the process.
2. Designating performance space refers to the demarcation of the space
that will used for the drama to happen. To enter this space and become part
of the drama, both actors and ‘specactors’ are endowed with characters
through the use of costuming which helps the non-actors assume characters more easily thereby
allowing for an honest engagement in the drama.
3. Attention arresters, these are devices, actions, gestures and so on, which grabs the attention of
the spectators.
4. Use of signals as cues to initiate or change action; are given by the Facilitator whose responsibility
involves moving the action of the workshop in directions that would allow for the issues to be
engaged sincerely.
5. Endowing the participant through the use of accessories/ props (refer to 2)
6. Use of Co-facilitation by the other players. When the issues of one of the characters is being
addressed the other actors go into strategic sections in the audience space, in an attempt to help
the Facilitator move the action of the workshop, and bring to his attention the contributions of
spectators who might have been missed due to the size of the audience or any other similar factor.

Techniques and strategies used:
These techniques were not used independent of each other, but were merged at the direction of the
facilitator or co-facilitators.
1. Hot-seating: the group working as a whole, have an opportunity to interview a character. This
means that the character’s story must have been created in such a way that he/she could respond
within that history. Actor must also be able to think on his feet at the story could be built even
more in response to the questioning.
2. Re-enactments: a known event is re-enacted in order to reveal it dynamics and tensions
3. Roleplaying: being in role representing an attitude or point of view. Participants are involved in
dealing with a problem where particularization of an attitude or point of view will be one of the
means by which they will negotiate solutions to the problem.
4. Challenge: the group sends representatives to present a verbal challenge to the character they
chose to assist. The challenge begins with “(Character’s name) I think you should…” The challenge
is done with the group’s representatives facing the audience and the character face the
representatives.
5. Role reversal: also called swapping and can be related to double, conscience or mirroring. The
character being investigated takes the point of view of the person being interacted with. The
picture of the world is widened and seen form other perspectives.
6. Simultaneous monologues: monologues done in segments by multiple characters. One character
may stop and allow the other to start or continue or the silent can interrupt and force the speaking
one to stop. The different sides or perspectives of a situation being investigated are heard.

Just Once Poem
We performed different versions of the Just Once poem; we changed the Facilitator for each
performance, and each Facilitator manipulated the basic thoughts pf the poem to fit the venue and add
his own interpretation to the delivery;
Basic Poem:
Just Once!
Just once you did not have a designated driver
And you end up in the hospital,
Just once…
Just once you broke a promise
And you lose a friend forever,
Just once…
Just once you don’t condomise
And you end up in a compromise,
Just once…
Just once you be a bully
And you end up in big trouble,
Just Once!
Just once a door opened
And you ran for your life,
Just once you just strayed
Now you’ve been played…

Just Once Monologues
Kevin
You see these hands? These aren’t just hands. These here are chords of muscle. Sinew. Tendons. These
are a man’s hands. I have plenty strength in these hands. And even these hands can’t get me what I want?
I remember my family all saying I was like the fire in their home. I made everything warm. Made our lives
bearable with the sound of laughter, or with the sound of music blaring, or just with the sound of the
outrageous things I would say.
At other times though, I was just a fire in our house. And I know it would break my mother’s heart every
time she had to put her youngest son out. But a man must learn to survive, no matter the circumstances.
So those times were just extra lessons. Learned more out there than I ever learned in any school. Yeah, I
went to school. You didn’t know? I graduate high school, even though the principal try get me kick out.
And all I did was try and fix the man tie.
So check me out now, living in my sister house. She keep it nice and she barely there to get in my way.
Man, I love my sister. And I like my little nephew, but sometimes the man just too faas! I here tryin to
chop up this coke and he comin in the kitchen talkin bout he want juice. Go back in the room, Junie! I SAY
GO BACK IN THE ROOM!
Kevin stands suddenly, hand ready to slap his little nephew. Well, I don’t need to tell you I didn’t get to
stay there for too long. But that was alright. I had a woman, and she had a house, and soon we had a child
of our own. My own family now, and nobody could put me out. Well, at least that’s what I thought. Da
woman could nag, eh? She didn’t like how I made my money and when

I try and straighten she out she end up callin police on me. Tell me not to come around, sayin I was a bad
influence. That is my child! After that, all they hear from me was rumors.
There was a rumor I was dead. There was a rumor I was livin somewhere in Venezuela or Greneda, or
some other place I had no place being. Them, and I figure they would be happy to see me after that. But
when I show up again, all I hear was my brother tellin me "Look that’s not how life work. Nobody just
gonna give you anything. Even my dog have to bark to eat!
So now what? Me and the dog on the same level? I must live on the street just because they get through?
They can’t help dey bredda no more? One too many disagreement and I not your husband anymore?
What happen? What happen to family? What happen to second chances? And I try...I try to do the right
thing but all it takes is for me to see someone from the old days, or to be around those places just once.
Just let me hold my son. Just let me talk to him. Just let me see him. Just once…

Raj
(Raj is waiting in the Adult Emergency section of the Hospital.)
Do you know what they accusing me of? Me?
It’s not my fault! The car came out of nowhere! What could I have done?
The lime was going real good too, why did that have to happen boy? (Pause)
The Friday evening lime is something I always look out for. Me and the fellas from work went to lime and
bounce up me cousin, then we bounce up he father and his staff…he is a school Principal…
Aye! I win real games of pool, about twenty…okay, maybe ten, but me and me cousin-we real blaze them.
There was real best woman too. Aye! If ah tell you eh, I lucky Celine wasn’t there-‘cause- I get-real play!
Dinesh try to make some smalls too, but the boy aint got no game…
(Smirks/laughs out, then realizes where he is)
Is on we way home it happen. Just once boss, only once, one time! Just once and now they bawling
manslaughter.

Richard
I is ah big man . I does work hard! I have two children , one 9 the other is 13 , boys ,
Them doing real good the oldest in collage and the youngest athletic and bright
I come from a good family, my father work hard and mind all ah we , make sure we could handle we self
he was a man for he family! I doh have no set ah book sense like my two other brothers and meh sister ,
but daddy teach me to make furniture the lil shop does make and with that I does make sure my family
good
Is 15 years now I married I n the early days things was nice Lisa and I together since secondary school,
hear nah I is a man real love my family, If I go take ah lil thing with my partners them I does be watching
the time cause I figure I could be home … that’s how it used to be ..
Things change ! Lisa changed… she just change !!
One day I in the shop with a client, now the gul bess eh , she real bess.. but I not on that , that’s meh
client! That gul introduce me to she man, she brother , she sister cousin man… the woman dose real
through business my way, so we dey in de shop talking nah . Bam!! Lisa come home, pass go inside and
come back out and start to raise bacchanal … well I in shock , so I say watch she..
All I say is “lisa was dah one?” man ! that woman walk up to me and hit meh one slap and a knee to meh
groin !
That was five years ago ; hear nah if that woman play she loosing it with me just one more time! …
somebody will die.

Jevon
“Just once you stand up for your rights and you turn out the bad one”
Just once ah tellin yuh. One time he have to lose he mind. One time he have to touch me. Eh. That will go
be it for he you know.
The man just love to advantage we out here dan. Yuh know if was one ah them lil pretty bright girls in
front the class who say she ent understand the question, he was taking time to explain. But cause is me
na!
So you will put me out the class cause I don’t know?! So what the hell you name teacher for?!
I tell him he on stupidness…
He go wring up my shirt?!
That’s real disrespect dan! Real disrespect!!
So I have a right to push him off ah me. Me eh lash the man yet eh. He lucky my partner check out the
scene and hold me back you know. Boy! Aye! That man get away. He eh know who is me you know boy!
He eh know!!
I have to take my days, cause I cant tell my father or brother about this. If I tell them, he is a dead man.
He eh know right now I saving he life you know.
So I go take my days. Ah go see about he when I come back out.

Bob
Every day is nag! nag! nag! That woman always nagging me, telling meh about all kind ah out ah timing
talk bout “ I could take my clothes and go back by the outside woman Stewpssssssssss!
I doh have no outside woman! I love my wife! Ah mean ah does take meh little drink every now and then
but who doh take ah little drink eh. She does always tell me de worse ah things. Any time we get into ah
argument she always throwing that thing in my face and blaming me for my son death. And she doh even
know how much that does hurt meh inside ah here. My baby born dead boy!
I had dreams, big dreams for my son I thought he would ah be ah president or ah pilot or ah entertainer
like me. But ah never even get to hold him. But everytime ah reach in that house she always blaming me
and coming round me with she out ah timing talk. Just once I set foot in that house and she come round
me and blame me for killing my son again..........hummmm boy!

Kimoy
If I tell you this, would you please not judge me.
You see, everybody always judging me. But It’s not my fault.
Since I was at a very young age, my father left home and said he was coming back
That was 12 years ago,
He never returned.
I felt so disappointed,
I did not know how to deal with a situation like that, so
That was when I began to cut myself...
But my mother was there and she promised she would never leave my side
I believed her
Well....
Things changed not long after.
Mom came home twice a week,
She never paid any attention to me,
It is really frustrating, especially when people close to you, make promises to never leave you,
But then, they do.
What was I do.
I started to cut again.
This time I cut myself soo badly, I bled all the way to the hospital
Mummy came running over,

I was glad, because mom was right there at my side
That evening when we got home,
I dropped my stuff and decided to take a shower and probably go down and help mom cook dinner
But as I opened the door to go downstairs
I heard the front door slam shut
Mummy was out again.
A few days more
I could not take it anymore
She tried to comfort me when she returned
And my sweet sixteen was approaching
A sweet sixteen is a teenage girl’s biggest memory
So a day came and mummy promised me that she would have a party for me
A lot of friends and family
Food, drink
I was soo excited
I spent 6 hours getting dressed when that day came
I wore a short colourful haltered back dress
A pair of blue matching wedged heels
My hair wore a high bun
And a tiara to top it off
I waited and waited and waited
No one came

Not even my mother
That was it
Just once she broke her promise
And I’d be out those doors
Just one more time
And the streets would be my home.

Dolly
Ah remember when I tell him ah pregnant, you see we have four children already so the news of that
didn’t sit too well with he.
I say ah go wait till he done dress for work to tell him, seeing that he leaving the house nah, he like to
make a bacchanal for everything and I just want peace.
So he come in the room drinking a glass of water, I tell him, B ah pregnant, he dash the glass of water in
meh face and shout out pregnant for who??
As ah move to get a towel to wipe meh face I look at him, well who tell me do that… he cuff meh down
and start to kick meh up all in meh belly and he only saying go and tell your child father that you pregnant.
When he done, he fix he shirt and leave for work…. I start to cry wondering what I do to deserve this, we
married seventeen (17) years. I start to blame myself this must be my fault, I always saying something to
get him vex.
I end up by the doctor pain all over, he ask what happened and why I not making a report. I tell him he
must be crazy, I too scared for that and where I will live and who will take care of meh children, I don’t
want them grow up without a father but…but is only cuff kick and slap for breakfast, lunch and dinner.
Just once let somebody come through that door with some kinda help to protect me and meh children
from this man, just once let that door crack open and I get a chance to run.. Just once.

Day One: Tabaquite Secondary Performance
REFLECTIONS AND SELF-ASSESSMENT
Andre Marsden
It’s the morning of our first show today as the 'Map Brule Players'. We've prepared on our own and
together as a group. All of us have started in one place with our monologues and through critiquing and
sharing they've grown into what I feel are proper reflections of society. As we gather at DCFA, pack our
props in the vehicles and hit the road, I'm feeling confident. On the drive up, even though we have a bit
of trouble with the route, I can tell that my fellow players are feeling confident too.
It’s not until we actually arrive at the school that all that confidence evaporates. Luckily, I can rely
on my group to help manage it. We warm up outside the Tabaquite Secondary School's AV room,
addressing not just our ability to perform but also the physical signs of our nervousness. We shake out
our jittery limbs, stretch out the tension in our necks, backs and shoulders, then steady and control our
breathing. Finally, we exercise our voices, mouths, jaws, necks and throats using our new name. 'Map-
Bru-Le' as a part of it. With the nervous energy expelled we work on building our own confident, focused
energy, gathering it outside before we march into the AV room singing and skipping and ready to start
our show.
The show itself goes incredibly well. Though I have my back turned the students all seem attentive
and invested in the monologues. We go through them smoothly with very little problems, and finally it’s
time for the students to choose who they wish to speak to. In our preliminary planning we placed the
monologues that we assumed a secondary school audience would latch onto at the beginning and end of
the show. Surprisingly, though, the students choose Dolly, the abused mother of four, to speak to first.

The hot-seating process goes smoothly, even though some students appear too shy to speak up. From
my place in the crowd I can hear them discussing between themselves, and I coax them to speak up and
occasionally speak for them, showing them that it is their questions and suggestions that will move the
show forward. The students’ reaction to Dolly's situation was very telling in many ways. One group of
girls in particular were very vocal about what they thought she could do in her situation. Many in the
crowd whispered to one another suggestions of violence, but when it became clear that Dolly felt she was
incapable of that kind of violence. I suggested on behalf of one of the students that she ask her sons to
“deal with the man”. When Dolly replied that she had only daughters, the group of girls reacted instantly.
“Girls can fight too!” one of them challenged, and soon we were providing them with costumes for them
to play the parts of Dolly's daughters as they confronted the abusive husband.
Next, the students wanted to hear from Kimoy, and again there was a lot of discussion followed
by several useful suggestions. What struck me the most about Kimoy's hotseating, however, were the
things that the students said to one another in the audience. In particular, I was shocked when one
student asked Kimoy how old she was when she started cutting herself. When Kimoy answered “14”, the
girl leaned over to another girl next to her and whispered “I was 12.” While I was aware that this issue
was a real phenomenon and know people who used to, and some who still do cut themselves, I was still
a little taken aback by this admission. I saw in that moment how what we were doing was connecting
directly to the audience.
In our final rehearsal before this performance we tried hot seating each character and recreating
what we assumed would be the outcome of doing so in each setting. We were advised that the
suggestions that came out of hot-seating would not always work, and as we set about recreating this, I
was struck with a feeling of hopelessness. Every suggestion and scenario had some hitch that would

ultimately result in failure. After actually performing, however, and hearing the discussions coming out
of the audience, I realized that it was not hopeless, as long as it resulted in creating a safe environment
for people to discuss their issues and perhaps ask for help, even if no one was sure what that help should
be.
Simeon Moodoo
The first performance as the Map Brule Players was a success although it was not perfect. The form three
students of the Tabaquite Secondary School received the performance with an inquisitive and cooperative
attitude, which allowed us to achieve the purpose of our performance. The one of the main objectives of
this assignment is to initiate thought from audiences about social problems and possible solutions for
these problems. The issues we highlight are suicide, drug abuse, domestic violence, teacher-student
relations, and drinking and driving. We acknowledge that there is no ‘magic wand’ and that we must
continue to search for various ways of dealing with issues that affect our society.
Although we are all performers, and students of theatre, this was our first performance as a
Theatre in Education group, therefore the experience was new. Our nerves got the better of us at the
beginning of the performance, we did not do the entrance and introduction of the group as practiced, one
of our performers got ready before the appointed time and the placement and removal of set properties
was not done as rehearsed. Even the tempo of our performance seemed a bit rushed. However, the
nervous energy that existed in each performer was dissipated while we began our individual pieces.
The session consists of a song, a poem, six monologues which are two minutes in length, a hot-
seat segment with two characters chosen by the audience, a combination of techniques including hot
seating of characters and challenge to further investigate the issues. My character wasn’t chosen by the
audience to be investigated, but I helped in the playing of scenes in the chosen character’s lives. The

response from the audience was unexpected but pleasant. There were a significant number of individuals
from the audience who were willing to assume characters and become part of scenarios in attempts to
resolve issues. This session also revealed that we need more costumes to allow for the masking of
participants from the audience to assume characters. Despite rushing some of the scenes the facilitator
did a very good job in facilitating the session. I would like to try facilitating, but I am not comfortable doing
it by myself yet.
This session has raised my confidence in taking on the task, hence I look forward to our next
attempt. This will definitely be an interesting set of performances, I hope that we are truly able to initiate
contentious and proactive thought on possible solutions to these issues that we bring to the fore.
Robert Noel
Our first group and I have the joy of being the first facilitator , I do prefer this to being a character at
least for today until I get my character right; I was not very insecure about facilitating I had seen it before
during a previous outing with Arts in Action. Additionally, we had some coaching from Dr. Lyndersay and
Lalonde, who is probably the most experienced student in the group thought me a technique called the
challenge. According to the information given to us by Lalonde who lives in Tabaquite and is a past student
and teacher at the Secondary School, it’s a quite community of relatively peaceful country folks. My only
concern is in hoping that our monologues would interest these youths and that as a facilitator I will be
able to cope with whatever happens.
One down! Three more to go, I was nervous at start the crowd was very interested in Naomi and
Dolly the former being the first to be hot seated, it was difficult at time for me to remember my
responsibility to stay close to the character that was on the hot seat, my eagerness to communicate with

the audience got in the way somewhat. The importance of Educative Theatre as a means of community
development and personal development came clear to me when one young girl questioned the character
Naomi as to what age she started cutting herself, I was told by other players that’s that same girl after
hearing the character’s response leaned over to her friend and told her what age she herself started. I
left wondering to myself whether or not it was enough to highlight issues and not give clear solutions.
Even though the audience gave suggestions; I wondered if the fact that we had to complicate these
suggestions might have made students actually going through these experiences feel helpless.
Lalonde Ochoa
Being part of a team helps with the nervousness of a performance of this nature. This first location being
familiar to me as well, added to the sense of comfort I felt. I didn’t feel like I shared the level of anxiety of
my peers for these reasons. I was excited though to take my work to my home and in some way contribute
to the development of the students in my past school. This changed though just before the presentation
began. While we were hyping up to enter the room I felt it. The anxiety we were all experiencing
We entered the space and things seemed to be going in a negative direction when the opening
routine was confused and we did not execute it as we prepared to. The preparation for the first scene
happened to early and we did not move as we had planned. However, we kept composure and pushed
through. The monologues were executed well and the transitions went smoothly. The participants were
very attentive. I thought that the space was going to be an issue being small, but the small size made it
intimate and easy to connect in my opinion.
The interaction phase was a surprise to me when the student chose Dolly and Kimoy to interrogate. It was
a surprise that while I was a trainee there my character’s situation was an issue but it seems that things

changed while I wasn’t there. It was an interesting twist. I always feel that I underestimate the intelligence
of children when I do these types of workshops because the responses almost always amaze me. The
adult-like solutions they suggest and are willing to insist is always a joy to share. I feel that the facilitator
did an exceptional job for his first time and he had control and trust in the rest of the team. The team I
found worked well together feeding off each other’s signals and energies to execute a well-rounded
workshop.
Rawle Peters
On reviewing the first Theatre In Education (TIE) production through my third eye. It was a performance
that encompassed an integration of various (TIE) techniques which were utilised in the manner which they
were designed to fulfil. However, the synchronisation of us as a group was not on par as a direct of lack
rehearsal time for the group. The group needed time to gel just as any team in any aspect or segment of
society would need to adopt and adapt to each other as individuals toiling together to achieve a desired
result. The performance commencement was one which made allowance for the players involved to
develop the synchronisation which was lacking midway through it. Thus, with such momentum obtained
the players were able to manipulate the process by creating the illusion necessary for the audience to
suspend their disbelief to a point.
Being a perfectionist, I am constantly critiquing myself challenging myself to do better each and
every performance I’m always looking for new concepts and methodologies to enhance my performances.
I am never in totality pleased with what I depict as a performance. Sufficed to say my critical eye has
greater lenience for the performances of others. The group performance on that day was engaging,
empowering and fulfilling for the audience members present. In some cases the audience were

manipulated so as to participate but once when they got involved they actually achieved the purpose of
the (TIE) activity. In that they voiced their opinions and took the initiative to demonstrate their problem
solving skills.
The issues which were dealt with were relevant to the target group that day. There was even
evidence of a student who actually cut herself and was present in the audience who could relate with
Kirsten’s character. I am sure there are many other students who reside in homes where such issues are
prevalent but probably were not brave enough to voice it. Especially is such an environment where peers
are present. Instead of just taking away the paper with feedback from the students’ maybe we could give
out brochures with number of places they could go for help if they know persons who face such issues or
if they themselves face such issues. I was pleased with some of the responses which came from the
teachers and students which showed that not only there interests were peaked but also their critical
thinking skills.
Kirsten Shade
Although the individual performances were rehearsed, the nature of the performances was somewhat
improvised. This is what caused the performers to be more nervous than usual. The fact that anything
could happen to drift the message from the actor’s original intent. We had no idea what the audience’s
reaction would be like. The session consisted of hot seating. The characters hot seated were Kimoy, the
teenage trauma, who cuts herself and Dolly, the woman who is in pursuit for a rescue. The other actor’s
responded well and effectively, in supporting the hot seated actor.
There were both positive and negative impact which derived from this first session. The negative,
being the slight hiccups with regards to organization of props and movement, as well as disappointments

where some of the performers were confused as to what the next action or movement should be. The
audience were quite responsive and they have given positive feedback on all the performers. What was
interesting was the fact that a lot of the audience were able to relate to the situations and find solutions
to the problems brought before them.
Before, the performance, I felt nothing but fear and anxiety. I was anxious because I found the
approach to the performance was interested and I wanted everyone to witness it. But I was nervous,
because the memory of the lines, were not too effective with me. The long drive firstly, made me feel a
bit upset, which made it even harder for me to focus. That was my greatest struggle; The lack of focus
before the performance. Focus for me only began 10 minutes before the show.
During the show, I already felt uncomfortable, because we started out in the wrong positions and the
performers all had confused looks on their faces. I was uncertain if to do exactly what we rehearsed,
because it would have been completely reckless if I alone did it.
After the first session, myself as well as the other performers have gotten a great view of what is
expected. The story will also become more and more real to us, the more it is presented.
The M’ap Brule players, a name we decided on because of our smouldering passion to make aware the
ills of our society. On a day to day basis we are faced with situations that require assistance, resolution
and direction. TIE lends a forum for individuals to be able to converse about factual authentic life
circumstances.
The character Dolly seemed to be in a hopeless situation to her. She is so afraid to make a move
because she believe that it just might be detrimental or, she, be another statistic of domestic violence.

Dolly appears to be one who permitted a situation to move from one stage to another without trying to
put a stop to it because of Fear. Fear of losing a roof over her head, fear of having to bring up five children
on her own, fear of being alone, just to name a few.
I have a Dolly living inside of me, she has become quiescent because one day I got up and realized that I
can change my situation, I placed fear behind me and dealt with this situation head-on. The ability to
embody Dolly’s character was very difficult for me because I detached myself from that period of my life
and so to execute this effectively would mean I would at some stage have to revisit it, so I was having
problems with the monologue in safe guarding my own emotions.
Today as I thought about Dolly I realize that just like back then, I have the power to connect and
disconnect myself from any situation. As I spoke to myself, I got the confidence to play the role. I was hot
seated, I felt like my character’s situation was familiar to the everyday living of the participants and so
made them confrontational, ready to support and bring change to this dilemma. I don’t think I fully
embody the role for my own personal reasons, but I am sure the message was delivered, I played two
other characters in this session, that of a mother who is delinquent and a counsellor who was really of
little or no help to the situation. Although I am not fond of acting I felt comfortable with the work I did
today and am looking forward to improving it for the next Session.
The other group members were very coherent, our team effort was successful and I wait in anticipation
to observe what lies ahead in sessions two, three, and four.

Day Two Five Rivers Nazarene Church
Andre Marsden
Our second show is today at Five Rivers Nazarene Church. I knew little about the details of our audience,
only that we were appealing to a wide age range and so we tailored the order of monologues to suit this.
When we assembled at the DCFA I was nervous once again, though I didn't really know why. After our
first show I told myself that the process wouldn't be as difficult as I thought it would. I knew my
monologue, and as we waited and warmed up before leaving for the venue, I realized how ready we were
as a group.
Candy, Rawle, Kirsten and I stood in a circle using our characters and monologues to play off of
one another. What we were doing can't really be called rehearsing or memorizing. It was essentially a
spontaneous game we had come up with. One person would say a line or two from their monologue, and
the person next to them would pick up with lines from their own monologue, starting on the same
emotional level and ending on another. The lines were not in order and they weren't perfect, but that
didn't matter. What mattered was that we understood what we were saying and doing and why, we
understood the emotion and impulse behind the words. This happened so smoothly and naturally that
when the other members arrived they simply joined the circle and played along with no instructions.
When we were all assembled, this game went right into our physical warm up, and we did a run-through
of the show right there on the spot.
Arriving at the venue was a bit worrying. We were expecting to simply arrive and perform, just
as we had done at Tabaquite. Instead we arrive at the church to find the doors locked and the building

empty. We meet with the pastor who tells us that the youth group will be arriving soon, but at this point
we're all a bit concerned. We've been told that the most difficult situation would be playing to a small
crowd. Eventually the audience arrive and we respectfully wait for them to begin their service. We were
supposed to be waiting for them to finish singing, but decide to join in instead. I immediately wonder if
this was the right choice since we were using our gathered energy as well as our instruments to join in on
the singing as we saw fit. This seemed to distract some people, however, and I wasn't sure if it was simply
having strangers in their space or if we had broken some sort of Taboo. There was also the issue with the
leader of the youth group, who allowed the audience to go from properly warmed up and excited from
singing to cold and calm, and almost bored. The youth pastor set a pace for the evening that we were
hardly able to break out of. Nonetheless we had some very interesting interactions with a small but very
vocal crowd, many of whom came from the audience to be a part of our show. Though it was very
different from the show in Tabaquite, I count this show as a success based on the conversations that it
encouraged during, and especially after the performance.
Simeon Moodoo
The second performance as the Map Brule Players was a success although it was not without its
difficulties. The church youth group received the performance quietly, but with interest. The audience
was small and shy, this made the facilitator’s job more difficult than anticipated. However, the facilitator
for the night was our most experienced, hence we were able to turn a potentially dreary experience into
an interactive and well received performance.
This was our group’s second attempt at an educative theatre performance. We were not filled
with anxiety for this performance, and the individual monologues were stronger. The session consisted of

a song, a poem, six monologues which are two minutes in length, a hot-seat segment with two characters
chosen by the audience, a combination of techniques including hot seating of characters and challenge,
to further investigate the issues. My character was not chosen by the audience to be investigated, but I
helped in the playing of a scene as a mediator in one of the attempts to solve Bob’s situation.
This audience was quite reserved, although we had a few of them volunteering to participate in
the problem solving segments, they were generally shy and reserved even during the hot-seating.
Fortunately, due to Lalonde’s experience and talent the session followed smoothly. Additionally, I was
more proactive than I was during the previous performance, when I realized that members forgot to move
the set properties or were taking too long to do so, I took the initiative and got the job done.
We were only able to deal with one character’s situation in the second half, because it was a heavy
performance and Bob’s issue was not one that could be easily solved. The seriousness of the conflict
between husband and wife coupled with the loss of a child that they both wanted, commanded the
interest of the audience. Hence, the second part of the session surrounded Bob’s situation.
Altogether it was a successful performance, everyone pulled their weight and at the end the
audience - both as a collective and individually expressed their appreciation of the exercise.
Robert Noel
The five Rivers Nazarene church is the home church of my brother who is a lay minister at that
congregation, tonight my character “Richard” had to perform his monologue, Richard is a married man
being physically abused by his wife. During the presentation I saw evidence of discomfort form most folks
, apparently this is an difficult character for both genders to face ; I also felt that the fact that we
performed too close to the congregation made it more uncomfortable for most of them . My experience

tonight thought me of how important it is to stay alert. It’s a great challenge to focus on audience,
facilitator and fellow actors especially during improvisation and role playing. The task of making these
improvisations appear real is vital for achieving maximum impact and that takes a great deal of focus and
energy.
Lalonde Ochoa
When I heard it was a church youth group we were going to next I was thinking about limitations we would
face. Usually when working with religious institutions they don’t want this and they want that. I personally
find them too picky and choosey. But that was a personal bias that would have prevented proper
facilitation. It was recognized early and I got rid of that mentality.
It was my first time facilitating a T.I.E session however I have been observant while working with Art in
Action personnel. I now feel much more grateful for those experiences. Honestly I took them lightly and
underestimated their value. When the time came to think on my feet, because the audience was
unresponsive, it just happened. Another thing that helped was the proactive nature of the team as a
whole. Trusting the team in T.I.E is vital to its success. M’ap Brule possesses that trust and we all felt it.
The session went smoothly and had some interesting twists. A participant was giving a suggestion
and when asked to take part in the scene she came willingly. She was challenged and took it well. Earlier
biases were thrown out even further when dealing from an open mind. I learnt to always give chances
and expect the unexpected, do not underestimate your participants’ ability to contribute and be creative
and always have fun and enjoy your work.

We received some very encouraging comments and feedback while chatting casually to the participants
after the session. One even gave a suggestion of focusing on abuse and pushed us towards continued
success.
Rawle Peters
The second session which was held at second street Five Rivers at a Nazarene Church was which began
with a period of waiting for church members to arrive. This gave us a group ample time to settle and
acquaint ourselves with the performance space. Added to that before we actually arrived we spent some
time rehearsing the piece at the Department for Creative and Festival Arts of the University of Education.
This rehearsal proved useful to us as a group and it prepared us for the performance that night. Also I
thought that the group appeared to be more relaxed having already gained exposure and experience from
completing the first performance.
Being my own worst critic I would like to state that my performance was nowhere near where I
wanted it to be. Added to that I along with the rest of my colleagues realised that my volume kept
decreasing. Such an occurrence should never have occurred with me since I am constantly teaching my
students to project their voices. All I can say is that I was aware of what I was doing I know why it occurred
and I know how to correct it. So that such an occurrence does not happen again. The group was quite
vocal and posed questions and suggestions of possible solutions to the characters.
Members of the audience said that in one scene the psychologist was a bit too rough with the
character that was in need of help and volunteered to enter the scene in an attempt to aid in alleviating
the problem. Although the second performance in my opinion was of a higher calibre compared to the
first. I would like to add that much work still needs to be done on if we as a group are to truly raise the
standard of the production up one level. This is a very achievable task which I know this competent group

can accomplish and manifest in the third performance which is scheduled for Wednesday 26th March
2014.
Kirsten Shade
I found this session to be one of the better prepared than the first. I guess it is because we are working on
correcting the mistakes from the first. We have recorded what was wrong the first time. I was less nervous
on approaching this session, but I was nervous on arrival, because the audience is different from the first.
I immediately began to think about what can I as Kimoy, do, say or react differently to reach out to the
audience in the way I will like them to. Would I need to be more childish, sterner, more serious, more
playful etc. Eventually, scenarios from hot seating sessions in class allowed me to remember Kimoy’s true
characteristics. What was important to remember, is that, whatever I do on the story, will effect responses
on the hot seat or will vary the way in which the audience take it.
The thinking and focus process, therefore was there for me in this “Just Once” session. I began to
adopt the character Kimoy before even before I got to the front. At this time, remembering the lines, was
no longer a problem for me, since I decided to learn about the story of Kimoy rather than the lines in the
story. The life story of Kimoy was presented in chronological order before the parents.
I had to play a major role, in another character’s life. I was the wife of a man who is hurt because
of the lost of his newborn. It took me a while to visualize this character because I was preparing for my
own for such a long time before. But I was able to portray it in a way that would cause the audience to
think about it.
The reactions to the characters were obviously different, being it a more mature audience as well
as being a church group, with different values and teachings.

The overall session was indeed a glory at the end, since our message was portrayed effectively.
The Nazarene Church of God opened their doors to the M’ap Brule players on their youth night, which is
a Friday night service, where the young people are in charge of every aspect of the service, because they
were having visitors they opened the service to the older member of the organization.
It was our second performance, but I was nervous as if it were my first. We had to wait for the
congregation to gather, in so doing, they were a bit late. I can’t say if my nervousness had anything to do
with the wait or the fact that another marker was on spot however, I honestly did not feel as confident as
I felt doing the first presentation.
During the session, I began to feel comfortable with myself and so was able to play the character,
Dolly without much intense. I believe we got our point across, the participants were very receptive and
resilient while participating in the session, and I liked the way they responded with alternative suggestions
and solutions to the everyday circumstances we portrayed through our individual monologues.
The feed we got afterwards especially from the older members were quite encouraging, with some sound
advice from one member in particular, who suggested we deal with the issue of child abuse because of
its’ prevalence in our society today.
When this session was over I found that our next session was too far away. I look forward to
making a difference in our society using this method of bringing about awareness.

Day Three: St. Antony’s College
Andre Marsden
Our third show is today at St. Anthony's College. As I arrive at the DCFA I feel as confident as I've ever felt.
There is only one moment that the confidence wanes, and that is when I take a glance into the schoolyard
and realize just how big the school is and therefore how big our audience is likely to be. Once again,
though, I'm with my fellow players, so that nervous energy doesn't last very long. The students wandering
around begin to stare at us, wondering what was about to happen. Everybody looks for something to do,
something to carry as we make our way through the school. Kirsten even takes the broom I was holding,
leaving me empty handed. As a result, I focus my energy into an invisible dinosaur egg which I carry under
my arm. When the students approach me now, I am performing. Their curiosity of me is transferred to
the egg and thus no longer makes me uncomfortable. I am reminded that the techniques we use are just
as much for our own benefit as players as they are for the audience. M'ap Brule!
As expected, the audience is quite large, the largest crowd we've had. It also takes some
manoeuvring on our part to get everything organized, which leaves us exposed. I can feel my fellow
players growing restless. We move to the back of the large auditorium to disperse that nervousness,
gather our energy, and begin our show.
This show was not our best. As we begin, the shak-shak I was using to keep the rhythm of our
introductory song falls off its handle, resulting in a disruption of energy and attention that manifests in a
fit of laughter by some in the audience. One group of boys in particular seem to have trouble taking the
rest of the performance seriously. There was some confusion in moving props between monologues that
made us seem a little rough. Despite practicing beforehand several times our finger-snaps between

costume changes was faster than it was supposed to be. The costume changes were also way too long.
There were also factors that we couldn't control. The gym we were in was not at all conducive for
performance, and half of the audience couldn't hear or understand what we were saying. It is possible,
however, that I was only noticing all these negatives because our second markers were present.
It’s still strange how completely unpredictable these audiences are. We were sure the Jevon skit
would be selected this time around, and that was confirmed when we witnessed their reaction to the
actual skit. We were also expecting Raj to be called up, what with his story of Friday night liming with
friends and cousins. I was not at all expecting them to call Kevin forward.
I was terrified, but I reminded myself that Kevin wouldn't be. Our previous hotseat workshops
made him fearless and defiant. I was conscious, however, that I couldn't go in that emotional space
completely. The students asked questions that seemed less about Kevin's problems and more about what
it was like to sell and use drugs. It was a teacher's question that brought it back to the point. “If you could
do it all over again,” she asked, “would you take the money or your family?” I was glad for that question.
It put us back on track and allowed Kevin to show the source of his hurt. That question also led to the
suggestion that Kevin try visiting his family again. Our spontaneous skit was one of the most exciting (and
somehow enjoyable) things I'd ever done in this course. I felt real desperation and was reminded once
again of what my real uncle, on whom I'd based the character, had gone through. It was a healing moment
for me, as I once again felt a real connection with him. The next suggestion was for Kevin to go to rehab.
Once again, we had a spontaneous scenario that reminded me of playing with my cousins as a child. Our
approach to these exercises made everything easier as we tapped into a part of us we had developed and
nurtured long ago.

Simeon Moodoo
The third performance as the Map Brule Players was a success, but it was our most difficult thus
far. The single sex school provided us with an audience which numbered no less than one hundred and
sixty male students. The audience was large and difficult for a single facilitator, especially a new one to
manage efficiently. However, the facilitator for the performance did a reasonable job.
This was our group’s third attempt at an educative theatre performance, but anxiety for this
performance was still relatively high. The individual monologues were successful despite having to
arrange our set differently from what we were accustomed to. The session consisted of the M’ap Brule
song, the ‘Just Once’ poem, six monologues which are approximately two minutes in length, a hot-seat
segment with two characters chosen by the audience (one at a time), together with a combination of
techniques including hot seating of characters and ‘challenge’ to further investigate the issues and offer
possible solutions. My character was not chosen by the audience to be investigated, but I helped in the
playing of a scene as Andre’s character’s brother, as Lalonde’s character’s school teacher and even in a
role reversal scenario I became Lalonde’s character.
This audience was quite difficult to manage, although we had a small number of them
volunteering to participate in the problem solving segments like the challenge, its numbers and the open
auditorium made interaction and controlled participation difficult. The Facilitator’s inexperience showed,
he forgot us frozen for long periods at a time, however, he composed himself and got the job done.
I was more comfortable playing Kevin’s brother than Jevon’s teacher and Jevon during the role
reversal. The role reversal was the most challenging of all the scenarios we performed. We took the easiest
and quickest route, which was to have both the teacher and Jevon on stage at the same time, but have

them do individual monologues revealing the issues that contribute to their conflict. I am satisfied with
the performance, but felt as if we could have been more prepared for the scenario. As recommended by
the original Arts in Action member, we could have had the two characters interact, but I was not prepared
to do so.
The experience was different from the two previous encounters, we realised that we still have
lots to learn in relation to preparation of performances, choices to make in relation to techniques and
even how to adapt quickly to unexpected circumstances.
Robert Noel
Wow! This was tough, a very large crowd of energetic teenage males, in a large hall, without a sound
system. I believe we handled it well enough given our challenges. However some of our characters failed
to convey the seriousness or realistic nature of the portrayals. I think it was a case of being over whelmed
by the energy of the crowd. Despite this factor, audience participation was healthy and even a little scary
as they began to express their ability to relate to Jevon’s character by calling the name of an alleged
abusive teacher at the school during Jevon’s hot seating. This drove home the point as reiterated by
members of Arts in Action Group who accompanied us on this trip that the size of audience ought to be
closely regulated especially when dealing with issues that are sensitive for the particular community. I
also wondered, if sharing the actual nature of our monologues with the community heads might off
prepared us for possible outcomes.

Lalonde Ochoa
The bias I spoke about that I felt with the youth group found almost returned when we were asked to
tweak our performance to deal with sacrifice for lent. I did however keep an open mind and the facilitator
for that day agreed to go along with the request.
A school environment can easily be thought of being chaotic but this was not the case this day.
The space for the workshop was the meeting hall. This hall however was the size of a basketball gym. It
was the largest group we have encountered so far. It turned out to be the most tasking of the workshops
so far as well. We found ourselves having to project beyond a comfortable range while still not reaching
everyone. A thought I had was that the first two workshops were in intimate spaces and maybe we got
comfortable or too adjusted to such an environment. It was still a learning experience and the workshop
carried through.
My experience in this workshop was different too. I am concerned about if my choice of going
into character and sitting with the students was necessary or if it wasn’t. My character is also a school boy
and the participants took special interest in him. They found a certain sense of solidarity I assume, because
they cheered and some even encouraged the negativity he was portraying. The possibility of them
choosing that character was discussed but somehow I felt unprepared for that solidarity even though it
was expected. The role reversal we attempted was interesting. We were given guidelines as to what could
have been done better by the Arts in Action personnel present. That was highly appreciated because we
had similar thoughts but were unsure about if we were thinking along the right path.

Rawle Peters
St Anthony’s was a venue consumed with challenges which were counteracted with improvisational
techniques. The group had to overcome logistical issues in terms of space, audience size and audience
positioning. There were occasions where the costume changes consumed time because of the proximity
they were to the sage. There was also a decision to change the seating arrangement closing up all the isles
which did not allow for the facilitator enter the audience lending himself to interaction with audience
members who were further away. Voice projection was essential on that day for all members of the
audience present to hear what was being uttered on sage. Meaning if one’s voice was not at its optimum
then one would be met with a challenge. Added to that, there were at least two or three heavy duty fans
situated in the designated gym area which were loud and should have been switched off.
The facilitator or joker role which I assumed on the day was one which was new to me and one
where one needs to be totally comfortable and focused. It is a responsibility where one needs to practice
to actually master for it is a skill onto itself. So for a first time I tried my best within the perimeters which
the circumstances allowed us to function. I have much respect for the role and I know now having
immersed myself into the role I know what are the necessary requirements. With that said one does not
learn certain tasks overnight all things in live include processes such as learning, healing and even dying.
These are all processes which over the course of time are given the opportunity to fulfil their purpose in
life. A process being new to me was similar to that of a newly born trying to creep for the first time or
taking their first steps. With practice facilitation will be effortless in the future. So Actually I am proud of
the group as well as myself for what was achieved I forged on that day and never backed down knowing

well that all was not well in my camp but like the Alamos I kept forging ahead with guts grits and
determination.
Kirsten Shade
On approaching, I was very uncomfortable, because I was extremely concerned about how young boys
will react to my teenage girl problem. How can I make them interested in hearing what I have to say? I
still was unable to find the solution to that, but I just stayed typical Kimoy. It was very hard to focus at the
beginning, because whilst setting up, the audience were already in front of us. The audience was also
much larger than expected and the setting was less audience to actor friendly.
Things had to be adjusted prior the performance. Such as, voice. We all needed to speak more clearly as
well as project more, so that everyone can hear. This made it difficult to make various intonations with
the voice, while trying to keep a pitch that was suitable for everyone.
The audience seemed uncontrollable and I had to also help with coordinating in the area where I stood,
to ensure that the work was done effectively. I believe that the audience did not take the situations
seriously due their responses, solutions and questions.
Among the other performances, I would consider this one the worst, because a lot of the coordination for
that day had to be improvised. Improvised in terms of space, audience and attention level of audience.
I consider this another learning experience, and would allow us to take into consideration, things
unplanned for.
The third TIE session was held at St. Anthony’s College, we had to tweak our monologue to facilitate a
request made by the Principal, to touch on the issue of sacrifice. On arrival we were ushered into a hall,

the acoustics was poor because of the large space, as such required us to over project to be heard, added
to which the population was more than we expected causing a further need for each of the player to
almost shout, I believe by the end of this session most of us had a sore throat from the constant shouting.
The session was the most difficult so far because I am of the opinion that the space was not
conducive to the intimacy required to be as effective as I thought it was in the last two sessions. The
participants at the back of the auditorium were at a disadvantage because they were not hearing properly
and as such could not benefit from the full effect of the performance. At one point I saw the need for
audio equipment. However, we managed as best we could, those persons who heard benefited
tremendously from the session and this manifested during the hot-seating part of the session.
I was contented because the young men who participated offered some workable solutions to the
issues identified and that spoke about them paying attention and contributing. Overall the session was a
bit difficult but our aims and objectives were met as we did in fact bring about awareness of the issues
we are faced with daily.

Day Four: San Souci
Andre Marsden
The night of our final show has arrived. I realize now that I will probably always be nervous for this kind
of thing, and that wasn't an entirely negative thing. I wanted to put on a good show. I wanted to get
interactions from the audience. I wanted to be a part of a team. These were probably some of the best
things to be nervous about. The drive up to Toco was amazing for me. There was one moment,
descending a hill lined to either side with very small houses, where I was reminded if my home in Belize.
I realized that we were probably going to a community that would be very familiar and in fact that shows
like this would be something I could continue doing at home. I hadn't thought of the logistics of the thing
just yet, but it feels like a good place to start from.
Sharing in that drive and stopping and marveling at the sights along the road felt really good. I felt
that we were building and developing our bonds as actors and as friends just by sharing in this activity.
Tonight's show will be facilitated by me, which is now the only fact I'm worried about. We've set out with
only a general idea of where we are going, but that is somewhat the point of this particular show. As we
hit traffic on the way up there was the thought to stop at any bar on the way and perform there, which I
actually felt fine with. At this point I feel confident in the skills of my fellow players and in myself.
By the time we arrive at our destination its already night, and as has happened before, there is no
one at the venue. In fact, while the bar owner, Nick, did know we were coming, he doesn't seem at all
prepared to receive us. It has been a long drive and I'm sure my fellow players are as tired as I am.
However, I also want to have a worthwhile show. We've passed several places where people were

congregated on the side of the road. We gather to discuss the situation and most people vote to go back
to one of these places. The two that voted to stay went to talk to the bar's owner. He says that he would
make some calls to invite people out and we end up staying. I don't know how that happened.
This was the smallest crowd we had played to so far. There were three women, one teenage girl,
and about five men, one of whom was noticeably drunk. We were anticipating people being drunk at a
bar, and as we started the show I wasn't too worried about it. When he started to disrupt the monologues,
I realized we weren't quite ready at all. Nonetheless we continued, trying to get something out of this
audience. As facilitator, part of my role was encouraging dialogue about what the spectators had just
seen. I could see during the monologues that some of them were relating to the action, some disturbed
by it, but now I couldn't get anyone to seriously explore it. The same fellow who was drunk wanted to
talk to Kimoy, but something about his behavior told me that his intentions were actually to disrupt the
process further. I tried to move past this at first but with no one else offering any suggestions I didn't
know what else to do. I made eye contact with Kirsten and we shared a silent conversation that went
something like this:
Me: I'm not sure what to do.
Kirsten: Its okay, we were expecting this
Me: Are you willing to give it a shot?
Kirsten: I don't like the look of it.
Me: I'll be right here with you
Kirsten: Then we can get through this together.
And so it went. Kimoy came forward and we explained the process of hot-seating to the audience. While
it was slow going at first eventually they all opened up. Not only did we get suggestions, we got volunteers

to come up and join the action. The second spectator/actor was so excellent that even when another
player introduced a sudden twist in the action, he rose to the Kimoy's defense, and had the rest of the
audience engaging in the action with him.
After the show, the fellow who was being disruptive in the beginning called me aside. He was still
noticeably drunk but I appreciated that he wanted to explain his view further. He told me that the reason
he chose Kimoy was that she was the one who was inflicting pain on herself, and so speaking to her would
be the most effective. It wasn't even something that I had considered before. We chatted a bit more and
I thanked him for his input and his participation. While I feel like I could have handled it better, the fact
that it generated positive discussion left me feeling amazingly excited about the possibility of Theater in
Education.
Simeon Moodoo
This was the fourth and final Theatre-in-Education workshop, we encountered many hindrances from the
Journey to and during the performance and forum sections of the workshop. However, we made it
through all stumbling blocks successfully. A miscommunication in relation to the time of departure from
the campus led to a late arrival at San Souci. Further to this, we took a few detours; when we arrived the
crowd was sparse so we contemplated changing the venue. However, we decided to wait for the site to
become more populated. We also walked for a bit using our bare voices to call the villagers out to see the
show. In the end we performed for a manageably sized crowd.
In retrospect I was not mentally prepared to perform for spectators who were continuously
becoming ‘tipsy’. I did not expect persons to be having audible conversations in the audience that had
nothing to do with the performance. Additionally, I was not sure how to respond to persons who appeared

to consciously ‘be difficult’. Our facilitator did a great job at remaining calm and being a sensible
moderator between the group and the spectators.
Fatigue was shaken off with the use of warm-ups and anxiety quickly cleared, despite the
difficulties of managing the spectators. We all performed our monologues with a significant level of
confidence and effectiveness and the facilitator conducted a well-controlled sessions which led to the
incorporation of “specactor”s into the workshop. Members of the audience became actively involved in
the attempts to redress the various social problems which were presented.
I learnt a lot about Community Drama, and I also discovered that there is a lot more to learn. This
journey contributed significantly to my personal development as a performer, educator and community
activist.
Robert Noel
I was so looking forward to this trip, the beach, sigh, however we got to Toco just in time to perform.
There was a dilemma in that the venue was severely lacking an adequate crowd however Dr. Lydersay
employed democracy and we employed our intuition and decide to stay a while and encourage the folks
that were there to call out their friend and relatives. Although the eventual crowd was far less than our St
Anthony’s experience, the fact that it was at a bar, where some audience appeared to have already had
“a few” posed some challenges, e.g folks talking loudly while the actors portrayed our monologues. The
night, our final location, turned out quite well actually, the crowd participated, even the intoxicated ones
and gave some helpful advice to the characters that where hot seated. Tonight I learnt how important it
is for players to mix with the crowd and listen to their comments. I was amazed to discover that even the
folks that stood far off form the performance area paid close attention and had very interesting views

even if they were shy to come forward. I was successful in getting one out and willing to share his
comments for all.
Lalonde Ochoa
This was no ordinary trip to a workshop. This was an adventure. It was my first time going to that side of
the island. I have never been to Toco or seen the lighthouse before and having that opportunity along
with doing this work was icing on a cake. The trip was tiring still and when we arrived to where we were
supposed to perform I was concerned about low energy. We had to make some harsh decisions today
with first having to leave a partner behind due to difficulty in getting to the location then to decide
whether to stay at the bar with few people present or go back to one that wasn’t expecting us with more
people. We eventually decided to stay and hope for the best; that more people would come. More people
did come.
It was an interesting evening with an energetic team facing an unfamiliar group. The group was
probably less responsive than the youth group at first. I was sorry for our facilitator but Andre rose above
the situation and dealt with it in a manner that made me proud of him. There was a man who appeared
to be trying to disrupt the workshop as best he could and it was frustrating me up there on stage. He
eventually turned out to be one of the most active participant members. Something most memorable for
me was when the gentleman came up and read the bible, and when he was challenged with another
players attempt at disrupting the action, he rose up and opposed her respectfully and was a star among
the audience. The participants chose Kirsten to hot seat and at first it felt as though it was a joke but the
process always prevails. It started off maybe in my assumption that they just wanted to talk to the “girl”
in the group but when the issues were explored and challenged, the participants dealt with it seriously.

At the end of it all the feedback was very heart warming. We spent some time there afterward
and spoke with some people there and we were continuously encouraged. The work done over these past
four sessions is an experience I knew about only on paper and some mild experience in Arts in Action.
Doing the work in full like this brought a renewed and new appreciation for the years spent in UWI thus
far. I feel more confident that I am where I belong and this is the work I can see myself doing.
Understanding that we don’t have a magic wand as Dani put it is important.
Rawle Peters
On the day of the forth T.I.E. presentation in Toco I was unable to reach on time due to job related
commitments. I hurried home freshened up and aimed at reaching DCFA as quickly as possible while on
my way I received numerous calls enquiring about my location. I informed members of the group that I
was stuck in traffic. It was then that the Lecturer for the course called me and indicated that the group
would be departing without me. Filled with disappointment I exited the Maxi Taxi and decided to embrace
the opportunity to visit my terminally ill cousin (I mourned his death the next day).
Kirsten Shade
Before the session, our only means of preparation seemed just to keep healthy and be present. I say this
because, after all the previous session, the ideas and the analogy behind the entire production seemed to
be at the back of our hands. Speaking for myself, I was less nervous, but not mentally 100% ready. Bearing
in mind, that this would be a completely different environment from what we visited and the audience
would have other things to bring to the table, since their mind-set would be different. This location was
at a bar. Hence my judgemental point of view.

The route to get there was long, but it allocated time to relax and get into character. Once
approaching the venue, hopes were beginning to lessen, since there was little confusion such as stopping
off at the wrong venue and being uncomfortable with the lack of audience members.
During the session, the evening had a drastic turn around and things went more unexpected than
planned. Once the performances were done, and the audience were asked to interact, their feedback was
very reluctant and the facilitator had to ask more than once.
The only character chosen to hot seat was Kimoy and that put me in the spotlight as the questions they
were asking seemed to be off the topic, or you may say questions, we were not expecting. However, we
managed to work around it and responded effectively. What was most interesting, about the session, was
the solutions that the audience came up to.
One member in particular, resolved the situation in a religious sense, where he became part of
the scene as a priest and read a scripture. He even responded to following actions as though he was real
and serious about the issue. From my point of view, being one of the actors communicating with him on
set, I felt all his emotions about the topic, without him actually saying how he felt.
This definitely gives a positive outcome on the objectives we initially projected. The fact that the
issue was raised and the members of the community, feel it upon themselves to help.
Our last session on the road was held at a bar in San Souci, located on the North eastern coast of the
island. Access to this part of the country brought to the fore several of my deep seated fears.
Long winding roads with precipice and driving over tall bridges enjoyable for some, meant sheer terror
for me. Two plus hours of that left me in a total disarray by the time we reached the venue. My concern

was, my ability to perform at my best after that experience. I felt nauseous and anxious notwithstanding
my fear of the stage itself. I sat alone in the car for a while to compose myself, then I joined the group.
On arrival there were two people sitting outside the bar, we had to make a decision on whether
we should go back to the bar in Toco or stay and wait for an audience, the decision was to wait. I felt
comfortable and extremely happy because this would mean less people to perform too. The bar owner
started making calls, one of the participants was also on her phone inviting people to come see what was
about to happen. In no time at all the crowd increased. By the time we started I was comfortable and
raring to go. I don’t think this was my best performance, but I felt as though I executed my role with clarity.
There were some distractions, like having to talk along with this drunk guy and the cars passing right near
to the performance.
All in all I believe the M’ap Brule players brought about the awareness that we set out to deliver.
The participants were very brave and gave some positive contributions to the session. Kirsten was hot-
seated, the participants contributed what they thought would be the solutions to the problems
surrounding Kirsten’s character. I played the role of Kemoy’s mother, she displayed a nonchalant attitude,
causing her to be challenged by a priest. I am confident that our TIE team and the theme ‘JUST ONCE’ was
well received in each of the locations, as we touched on some grave issues dominant in our society to
date. I know with our methods used we did in fact bring about awareness and open the eyes of some to
these issues.

Limitations and Recommendations
Even though the project was successful there are some things we felt that limited the process and
further success of the venture. The class can be descried as an advanced course, not only because it is a
level three course. The class seems to attract a small brotherhood of seriously interested individuals. In
the beginning we were searching for colleagues to join the class with the risk of not having enough for it
to be approved. We were not able to convince new additions, however the minimum of seven registered
students was attained.
The challenge of adjusting schedules was present because of our classmate’s full time jobs and
responsibilities. This can be rooted in the fact that the majority of the class were mature students (one
under twenty five, two under thirty and four above thirty). Another challenge we faced was the timeline.
Learning about the techniques and their execution in time to prepare a show while scouting locations felt
heavy at times.
The most significant challenge we faced was learning, understanding and trying to master the
techniques and strategies. Therefore, students who are interested in pursuing this course should be
encouraged to join Arts in Action, DMAD Company or Ah'Peelin Feelings Playback Theatre Company to
gain experience in Community Drama styled work.

Conclusion
The Ma’p Brule Players is a Theatre-in-Education Company established for the fulfilments of the
course Educative Theatre II. We went through process planning and action research to achieve our
secondary objective of celebrating the 20th
anniversary of Arts in Action. The members each created
monologues to address or represent issues we explored.
These issues were presented in performance then addressed using different theatre-in-education
techniques and strategies learnt from the course curriculum and additional research. The performance
toured the island of Trinidad. The targets included two schools, a bar and a church.
Each location provided its own energy, accommodations and limitations. The team grew
tremendously throughout the process and developed many skills from the experience provided by this
course.

Figure 1 From Tabaquite to San Souci 19-28 March 2014

Appendix
The following are responses from the students who participated in the workshop in Tabaquite on 19
March 2014:

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