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Playbuilding is a process in which a group of researchers or actors uses dramatic techniques in all stages of the research process. It has a unique method of performance generation and style of production that differs from a variety of existing theatrical research presentations including readers theater and ethnodrama. Robert Donmoyer and June Yennie-Donmoyer translate traditionally collected data into a readers theater format that is usually performed live. In this theatrical genre, a narrator reads descriptions with analysis and a number of others read edited verbatim transcriptions from research participants.

Ethnodrama employs more theatrical techniques than readers theater. Matt Myer uses staged readings with minimalist sets to present research findings. Jim Mienczakowski and Johnny Saldaña's productions contain more elaborate dramatic action with the presenters or actors having their lines memorized. All four researchers have strong dramatic backgrounds, and in every case, they adapt traditional qualitative data into theatrical forms of dissemination.

Joe Norris, who also had roots in both theatre and qualitative research, takes a different approach. Using a Canadian theatrical genre called collective creation, more widely known as playbuilding, he integrates theatrical techniques throughout the entire research process of generating, interpreting, and presenting the data. The performed scenes are not adapted from other texts; rather, they are the texts themselves. Norris along with Donmoyer considers scene (readers theater) construction as a simultaneous means of data collection, analysis, and dissemination.

History

Although the origin of the collective creation genre is obscure, perhaps having its roots in the agit-prop theater of the 1920s, Theater Passé Muraille is credited with generating the first major Canadian production. A troupe of actors descended on the small farming community of Clinton, Ontario, interviewed its town folk, and constructed a play about their lives. Although not considered qualitative research at the time, the actors conducted a quasiform of participant observation and interview process with the intent of telling these peoples stories on stage. Alan Filewod has documented theater companies that have followed Theater Passé Muraille's lead.

Those in educational settings, Glenys Berry and Joanne Reinbold, for example, used collective creation as a means of teaching improvisational skills, a variety of dramatic forms, and giving students a voice in their learning. Their productions were often written by the actors or participants about issues that were important to them. Like a focus group, they assembled to examine a specific issue, topic, or theme. Unlike a typical focus group, they used theater as the medium of articulating their own thoughts and meanings as they researched their own lives. The performances were not always structured in a narrative form; rather, they were a series of vignettes presented as variations on the theme. Growing up, substance use, sexuality, suicide, prejudice, and bullying were often topics that were chosen.

Methodology

Norris saw the potential of this approach as a qualitative research methodology and along with his graduate and undergraduate students, formed Mirror Theater, a social issues theater company. A topic was chosen, and the research rehearsals began with the implied question, “What are our lived experiences with this theme, either as participants and/or witnesses?” Gathered in a circle, the actors would begin with personal stories as a means of exploring the range of issues within the topic, getting to know one another, and establishing trust. In addition to the above topics, the politics of student teaching, equality and respect on campus, school life, and the nature of qualitative research were studied. Diane Conrad used a similar methodology to assist at-risk youth in articulating and communicating their stories.

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