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Response to the Articles
Hello, my reading one response is that there are disciplinary limits despite the integrative framework of people from different and within the art fields (Cohen-Cruz, 3). The artist needs to depict his or her commitment while still maintaining independence attributes. The engaged performance entails an interactive measure among the artists, actors, and spectators, such as having proper communication. Despite only relying on scholarly materials for information, engaged performance artists need to focus on social networks (Cohen-Cruz, 5). Besides, the devised performance has extensive hierarchical bureaucracies, while the experimental version gives opportunities to artists for self-recognition. As such, engaged performance makes individuals identify their practice through applied theatre. It is essential to eliminate bureaucracies in theaters to develop a framework of inclusivity. Thus, people need to distinguish between integration, discovery, teaching, and application forms of scholarships (Cohen-Cruz, 7). The applied theatre tends to bring about the element of cast-off of the black communities in participating in the artistic work. Moreover, social justice is essential in performance theatres. Theatre makers must identify appropriate actors and spectators, assess potential risks, and adapt proper methodologies.
Hello, my reading two response is that the art’s primary goal is to integrate all communities to support each in realizing individual visions and attainment of dreams. The existence of a competitive environment has resulted in the development of hierarchies that disconnects people from their duties and responsibilities (Shaw et al., n.p). Community concern elements, like ethnicity, age, gender, economics, politics, and spirituality, create a void in having an engagement framework. Movement is primary in the artistic field as it defines what people need to deliver to their clients (Shaw et al., n.p). As such, we must adopt an interactive community that allows social interaction and eliminates entire oppressing initiative in the art discipline for sustainability building, transformation attainment, and ensuring people’s empowerment (Shaw et al., n.p).
Work cited
Cohen-Cruz, J. Engaging performance: Theatre as call and response. Routledge, 2010. Accessed from https://books.google.co.ke/books?hl=en&lr=&id=ov70v72NSKsC&oi=fnd&pg=PP2&dq=ENGAGING+PERFORMANCE:+THEATRE+ASCALL+AND+RESPONSE.&ots=h2eYXytJA_&sig=bFcNkm_vc7BDfyapX_tupXFMEAE&redir_esc=y#v=onepage&q=ENGAGING%20PERFORMANCE%3A%20THEATRE%20ASCALL%20AND%20RESPONSE.&f=false
Shaw, A., Grieco, S., & Park, G. Dancing our way home. A guide to improvising through life, art & performance. Beechworth Press, 2011.