Community-based theatre: Critical pedagogy for promoting social connectedness recovery in the post-pandemic era

Abstract

The long-term impact of the COVID-19 pandemic has persisted for several years. After a period of prolonged social isolation, people may be especially vulnerable to developing issues, such as social withdrawal. Theatre has been utilised in some instances to inspire individuals to foster critical thinking and encourage them to lead a positive life. This study applies a community-based theatre test case to examine theatre practices within the framework of critical pedagogy to address emerging issues in the post-pandemic era. It aims to deliberate upon the ongoing process of the theatre workshop as well as the efficacy of theatrical approaches on an individual’s personal, interpersonal and sociological difficulties. This is meant to gain a better understanding of theatre practices that operate on the edge between critical pedagogy and sociocultural intervention. The findings suggest that community-based theatres effectively inspire participants to reflect on and take action to escape oppression. Therefore, it is an innovative strategy for promoting social connectedness while supporting post-pandemic responses. This study contributes to the theoretical, practical, and experiential development of critical pedagogy by providing support for individuals, groups, and the society.

Keywords:

• community-based theatre
• critical pedagogy
• social connectedness
• empowerment
• post-pandemic era

PUBLIC INTEREST STATEMENT

In the COVID-19 social distance, individuals were less likely to take part in leisure activities and social relationships. It may contribute to feelings of loneliness, depression, and social withdrawal. Isolation also stunted creative and vitality development, both individually and collectively. A person’s ability to establish and maintain relationships with others is a significant psychological asset that develops as a result of their social identity. There is a compelling need to spread optimism and encourage people to get involved in their communities. In light of this, the authors investigated the potential of community theatre as a means of addressing challenges that have arisen in the post-pandemic. The findings indicated that community-based theatre emerged as a promising strategy for enhancing social cohesion and response following a pandemic.

1. Introduction

Accumulating evidence has shown that the COVID-19 pandemic has severely disrupted individuals’ lives, with some reporting a decline in life satisfaction and social connections. However, it has long-term consequences based on individuals’ interactions with their physical, symbolic and social environments (Echegaray, 2021). As the outbreak intensified globally, dedicated measures, including social distancing and quarantine, were implemented to slow down the spread of the virus (Fazio et al., 2021). Although these measures are effective in infection control, they have certain consequences. COVID-19 social distancing reduces participation in leisure activities and social relationships and may be a risk factor for loneliness, anxiety, depression and domestic violence (Galea et al., 2020). The long-term impact of the COVID-19 pandemic can last from several months to years. People have experienced emotional distress, depression and post-traumatic stress disorder as well as behavioural changes, such as avoiding crowded places and repeatedly washing their hands (Brooks et al., 2020). (See Figure 1).

Figure 1. Images in image theatre in the theatre workshop depicting participants experiences.

Individuals who have been quarantined for extended periods may be especially vulnerable to developing mental health issues, such as social withdrawal (Kato et al., 2020). They may believe that their homes are safer than the outside world. Additionally, technology has made it increasingly easier for them to withdraw into their homes. For example, an increasing number of individuals are opting for home delivery food services rather than dining out. These trends are likely to be exacerbated in the COVID-19 era when homes have increasingly become safe havens from the pathogen-infested outside world (Taylor & Asmundson, 2020). However, social isolation can aggravate feelings of vulnerability and produce negative health consequences (Hawkley & Cacioppo, 2010). Social connections are the key psychological resources derived from social identity. This helps people to cope with challenges, especially during difficult times (Jetten et al., 2017). Social isolation reduces the growth of creativity and energy for both individuals and society (Cacioppo & Patrick, 2008). Urgent action is required to raise awareness of individuals’ social engagement and provide them with a positive perspective on life.

By engaging in the philosophical framing of critical facilitation, critical pedagogy progresses to function in contemporary communities and educational practices through a broad social constructivist approach (Morrow & Torres, 2002). The starting point of critical pedagogy is empowering oppressed people and enabling them to transform their life conditions (Aliakbari & Faraji, 2011). It allows individuals to identify acts that can potentially transform existing social and cultural relations. Therefore, critical facilitation provides an alternative to a heightened awareness of how culture is performed, enacted and practiced (Bercaw & Stooksberry, 2005). It approaches the act of teaching in terms of its potential contributions to society and culture as a whole.

Community-based theatre is a community-building, non-conventional theatre that combines artistic expressions and evolves under specific local sociocultural conditions (Van Erven, 2002). It presents a critical view of culture and society and has pedagogical significance. Community-based theatre is in support of a critical pedagogy, like T. Jackson and Jackson (1993) considered it as “an educational medium and as a force for social change” (p. 4). Shared experiences and understanding create aesthetic connections in the community and provide a relatively safe space for individuals to share their feelings and express their concerns, thereby empowering them by strengthening their communication skills (Prentki & Selman, 2003). Community-based theatre creates a multifaceted network of participatory communication and exchange that qualifies as both pedagogy and an effective vehicle for social change (Weinberg, 2000). These strategies tend to be effective in improving well-being and social connections.

Prior research has demonstrated the importance of community-based sessions in social activism. A systematic review of 58 studies revealed that group participation can lead to decreased isolation and increased social cohesion and has a positive effect on recovery from COVID-19-associated social distancing (Williams et al., 2021). According to Winstead et al. (2014), group activity sessions increase social contact while community mutual aid networks decrease social isolation. In a community-based and socially engaged setting, theatre brings people together and enables them to understand their social significance (Lacko, 2014). Several socially cohesive forces exist in theatrical group work, including trust, risk-taking, safety and teamwork (Nicholson, 2014). These fundamental elements include group cohesion, shared goals and experiences, adaptability and ownership (Faigin & Stein, 2010). While numerous studies have examined the effectiveness of theatre in various contexts, there is no published research on the effect of this method on the recovery of social connectedness in the post-pandemic period. The current study seeks to address this research gap.

This study explores the potential of community-based theatres to promote recovery in the field of social connections. It takes a reflective perspective on a series of theatre workshops in which critical pedagogy is provided in theatre education. Furthermore, it intends to explore the usefulness of community-based theatre in empowering individuals to promote their critical understanding and encourage them to adapt to a new environment. Meanwhile, the participants’ practices were expected to develop an understanding and engagement in theatre for their personal needs. This research attempted to gather appropriate data to indicate the effect of the theatre workshop and to measure changes by documenting the status of practising theatre by focusing on individuals’ self-development and social connectedness. It also aimed to evaluate the possibility of applying a community-based theatre technique to enhance personal and social development, which generates new modes of helping individuals develop positive values. Building on this, the application of community-based theatres as a tool for empowering individuals and promoting social connections during the post-pandemic era was developed.

2. Objectives of the study

The research objectives of this study are as follows:

1. To examine the causes of problems and oppressors of participants in community-based theatres in the post-pandemic context.

2. To assess theatre techniques and strategies as critical pedagogies to facilitate personal development and social connections.

3. To explore the effects of community-based theatre activities from an aesthetic perspective.

3. Literature review

Critical pedagogy focuses on individuals or groups affected by emotional and other difficulties. It is most closely related to Paulo Freire’s pedagogical theory, which focuses on the idea of a just society in which people have power over their own political, economic and cultural destiny (Freire, 2020). This pedagogy challenges educators and learners to empower themselves through social change and questions the existing phenomenon in a democracy (Shor, 1993). Freire considered pedagogy as a political and moral practice that provides learners with knowledge, skills and social relationships that allow them to explore critical thinking and deepen their participation in society (Giroux, 2010). Critical theory thinkers believe that these goals can only be met by emancipating oppressed people, empowering them and helping them to transform their living conditions. Human suffering is central to critical pedagogy (Kincheloe, 2008). However, the oppressed struggle not only with the oppressor’s domination but also due to their own oppressed comrades (Freire, 2020). Thus, critical pedagogy involves both self-criticism and reflection. Moreover, it attempts to open a new avenue to encourage learners to become more socially critical (Habib, 2019).

Freire, who worked with oppressed individuals, popularised the concept of pedagogy in his theory, best known as conscientisation, which is defined as raising consciousness (Kohan, 2019). Freire (2020, p. 35) claimed that “one of the gravest obstacles to the achievement of liberation is that oppressive reality absorbs those within it and thereby acts to submerge human beings” consciousness’ (p. 35). He sought to create dialectical relationships between the oppressor and the oppressed as well as between the oppressed and themselves through the development of critical consciousness. In Freire’s book Pedagogy of the Oppressed (2020), he challenged the relationship between teachers and students and invented the theory of pedagogy. He introduced the term “praxis”, which describes the ability to reflect on and transform something to make it more equitable. Therefore, participation in praxis tends to help individuals create a just and better world and, in turn, transition from liberation to oppression. Functionally, oppression is domesticated by reflection on and action in the world to transform it (S. Jackson, 2007).

Augusto Boal built on Freire’s ideas by informing not only theory but also practice (Boon & Plastow, 2004). Boal’s Theatre of the Oppressed (2000) is often used in theatre workshops following social interventionist events. His theatre practice is concerned with several kinds of oppression: social, personal and political. Boal (2005) presented a practice steeped in specific theatre techniques with clearly schematised structures. In the Boalian praxis, general philosophical characteristics can be identified and discussed in theory and practice, leading to effective social actions. The theatre work in Boal’s method constantly starts from an individual’s personal experience, and then, steps are taken for involvement in the whole group. As Boal (2013) stated, “the image of the images can also be used for periodic evaluations of a group. It establishes a relationship between individual, singular problems and the collective problems a group is experiencing” (p. 77). The most considerable restraints on an individual’s behaviour are the result of interactions between themselves and others. Boal sought to question how to overcome oppression, such as social, personal and political.

Throughout the book Games for Actors and Non-Actors (2002), he applied the phrase dynamisation, which describes the process of presenting solutions to problems in theatre practice. Depending on this specific method, this process was developed by participants who could change the way they solved the proposed problem. In addition, Boal (2013) introduced image theatre, which has the capacity to make thoughts visible since language is avoided. He stated that, “we must not forget that words are only vehicles which convey meanings, emotions, memories, ideas, which are not necessarily the same for everyone” (p. 174). According to Dwyer (2007), in Boal’s analytical image technique, there are some aspects of behaviour that help participants see clearly and find ways to change. Boal (2000) believed that problems are valuable in identifying restraints on change, which could lead to new solutions. Consequently, in the process of image theatre, the change is not only in the image but also in the individual’s behaviour and conscience. Boal’s (2005) theatrical methodology deals with social issues and thus generates changes and raises concerns. Overall, Boal’s techniques and Freire’s theories are compatible: participants are liberated and free by problem solving their issue-based concerns and oppression.

Community-based theatre is a form of theatre that takes a critical position towards social issues and aims to raise awareness and alleviate social conflict. Community—citizen empowerment and social justice perspectives are often grounded in established structures, such as the Playback Theatre, Sociodrama and Theatre of the Oppressed (Faigin & Stein, 2010). This facilitates greater experience in expressing, exploring and even solving problems. Theatre is a way to create change and raise awareness to combat issues, not only among participants but also in the community (McKenna, 2014). Community theatre, as a tool in social work, may contribute to individual empowerment (Boehm & Boehm, 2003). Individuals’ experiences may foster creativity and improve their self-esteem and confidence (Pyman & Rugg, 2006).

Community-based theatre can be categorised as applied theatre, which involves intervention and communication when dealing with individuals or specific communities (Muñoz-Bellerín & Cordero-Ramos, 2020). In numerous instances, applied theatre is performed in non-theatrical settings with no audience and only participants (Prendergast & Saxton, 2016). It is a theatre for change that exists to question in a critical way and contributes creative opinions in aesthetic and social contexts to develop new possibilities (Freebody et al., 2018). It enables individuals to explore multiple perspectives and open-ended questions, especially helping them develop cognitive affective skills, such as problem-solving. In addition, it encourages the expression of emotions, facilitates self-development and improves social networks (Bosco et al., 2014), thus contributing to positive changes in personal and social improvement. Applied theatre does not separate itself from aesthetic theatre but rather provides the link between theatre, culture and current key issues in society (Preston, 2016).

4. Materials and method

This study applied a community-based theatre test case to examine theatre in the context of pedagogy to address issues raised in the post-pandemic era, particularly in terms of promoting social connectedness. Fieldwork was conducted over three weeks at the Lingshan Bay Community, located in Western Coast New District, Qingdao, China. The community is in a middle-class neighbourhood that includes residents and migrants from other regions. This community was selected as the research site because it is a relatively young and growing community that presents new challenges. A theatre workshop was conducted using the Theatre Model of the Oppressed (Boal, 2000).

Recruitment was done through registration with the Cultural Affairs Bureau, Qingdao, China (CABQC), which is the administration in charge of cultural activities and reviews. The final group comprised 22 individuals (15 females and 7 males) aged 22–49 years (Table 1). The participants gave their consent for participation, discussion and video recording and were informed of the purpose of the research before participation in the sessions.

Table 1. Participant demographics

Title	Category	Frequency
Gender	Female	15
	Male	7
Age	18–25 years old	4
	26–30 years old	5
	31–35 years old	6
	36–40 years old	4
	41–45 years old	2
	46–50 years old	1
Occupation	University student	4
	Office clerk	5
	Freelancer	5
	Self-employed	4
	Teacher	2
	Full-time mother	2
Total		22

The methods used included focus groups (Puchta & Potter, 2004; Rabiee, 2004) and arts-based research methods (Finley, 2008; Leavy, 2017). Fieldwork was divided into two parts: 1) a focus group phase, in which the researcher guided the semi-structured interview and discussion with the participants and 2) an arts-based research phase in which the community-based workshop was conducted. Field notes, including performance dialogue, focus group discussions and theatre activities were recorded on cameras with videos and photos. Responses were analysed via MAXQDA qualitative analysis program in which the data segments were coded to identify themes and sub-themes relating to the research questions.

5. Results

Seven phases were used to design the workshops (Table 2). These phases were integral to organising the theatre workshop and collecting the pre-study data in the activities. Each phase had its own functions and illustrated the processes in a community-based workshop setting.

1. Negotiation of general workshop participation and exploration: the location manager (the person in charge of the workshop venue), community administrator and researcher developed the content for the workshop. Different aspects were discussed, including principles, goals, needs, possible issues and solutions.

2. Organising the workshop setting: the researcher, location manager and location work staff cleared and organised the setting to make it suitable for the theatre workshop.

3. Constructing the content: the researcher adopted a professional identity to develop the content and analysed the issues that were important to the workshop.

4. Participants’ enrolment: the enrolment plan was discussed with the location manager and advertisement staff in terms of the requirements and way ahead.

5. Technical preparation: technical support staff discussed the filming and recording plan and especially focused on the transformation of the content into aesthetic form.

6. Adjusting the content: the researcher and assistant facilitator designed a participatory theatre workshop session according to the circumstances.

7. Meeting with all staff members: all organisational members were informed of the content and process of the workshop. The aim was to stimulate cooperative actions between different professional groups.

Table 2. Seven phases in the preparation of the workshop

Phase	People	Function
Phase 1 Negotiation	Researcher, community administrator, location manager	Decide the workshop location and time
Phase 2 Organising the workshop setting	Researcher, location manager, location work staff	Clear and organise the setting
Phase 3 Constructing the content	Researcher	Develop the content and theme
Phase 4 Enrolment	Researcher, community administrator, location manager, advertisement staff	Decide the requirements of enrolling, draft the information of advertisement
Phase 5 Filming and recording	Researcher, camera crew, location manager	Technique: camera, sound, light
Phase 6 Adjusting the content	Researcher, assistant facilitator	Make sense of the content
Phase 7 Meeting with all staff members	Researcher, assistant facilitator, community administrator, location manager, advertisement staff, camera crew	Share points, prepare for the workshop

The duration of each workshop session was approximately 130–140 minutes. It included the pre-session meeting, preparation, warm-up, main theatre activities, breaks, focus group discussions and a closing. Table 3 describes the activity procedures for each session of the theatre workshop. The workshop was based on Boal’s theatre technique (2000, 2005, 2013), with themes related to social issues. It began with theatre games from Boal’s Theatre Games for Actors and Non-actors (2005), and the main part consisted of the Image Theatre and the Rainbow of Desire (Boal, 2013).

Table 3. Activity procedures in the community-based theatre workshop

Activities	Time Duration	Contents	Goals
Pre-session meeting	5 min	Discuss the plan with the participants	To introduce the session
Preparation	5 min	Prepare the setting and props	To get the participants involved in the setting
Warming up	20 min	Theatre games (Boal, 2005)	To stimulate muscles and reduce pressure
Main theatre activities	30 min	Image Theatre (Boal, 2013)	To explore unconscious thoughts with the body
Break	10 min	Turn on relaxing music	To provide a tea break and chat time
Main theatre activities	40 min	Rainbow of Desire (Boal, 2013)	To act out conflicting desires and explore strategies for taking action
Focus group	30–40 min	Discussion of the topic	To get ideas and opinions
Closing	10 min	Share feelings and give comments	To end the session

By following the benchmark of identifying issues related to social connections, the purpose of the theatre workshop was to gain insight into the factors influencing personal and interpersonal development. The responses were categorised into four headings to identify the issue: becoming expressive, encouraging help, becoming confident, and a sense of connectedness. The findings based on each topic are presented in the following section.

5.1. Identifying the Issue

The first stage involved research on major issues that threatened the participants’ experiences. They discussed their experiences and compared them with their current situation. Six main themes related to social connection emerged from the data analysis. These were (1) economic instability, (2) online education, (3) less social activity, (4) lifestyle changes, (5) systemic pressure and (6) fear. Table 4 summarises the themes, sub-themes and supporting quotes from the participants.

1. Economic instability. Owing to the quarantine, many stores and shopping malls faced bankruptcy and closure due to the greatly reduced number of customers resulting in lower sales. Numerous industries were affected by the pandemic, and the economic pressure on a large area was highlighted.

2. Online education. The sudden launch of online education has undoubtedly created a certain degree of panic in teachers, students and parents. Teachers were often not proficient in using network operations while several students were not that active in learning or were reluctant to take online classes, which reduced the class efficiency. In addition, parents assumed greater supervision and auxiliary roles, which undoubtedly increased their burden.

3. Reduced social activity. Quarantine changed people’s behaviours and ways of socialising. Prior to the pandemic, social activities included gatherings, shopping, watching movies and dining out. During the period of quarantine and social distancing, many places were closed, and people did not have the opportunity to go out for social activities.

4. Lifestyle changes. During the pandemic, various entertainment activities such as concerts and theatre activities were cancelled. Individuals had to lean into new ways of entertainment, such as video streaming.

5. Systemic pressure. Many policies have been issued in Malaysia under quarantine. Health or itinerary codes had to be shown when individuals visited a public place. Although people understood and cooperated with each other, they were stressed by these rules.

6. Fear. Owing to the mystery and unknowns of COVID-19, with some misinformation proliferating, people panicked about the infection, especially in public areas. However, they may over-respond to potential risks and foster threat-related emotional experiences.

Table 4. Themes, sub-themes, and supporting quotes related to the issue of social connections

Themes	Sub-themes	Illustrative Quotes
Economic instability	Unstable employment; Financial pressure	I am not confident about being sociable since I closed my business during the pandemic. I am negative and no longer have the motivation to restart it. There is so much economic pressure that I have to work harder, and people around me are in the same situation. We do not have such social activities.
Online education	Reduced campus life; Increased parental burden	I have had online classes for almost two years and have not even met some of my classmates face-to-face. I felt I was not ready to resume social connections in the real physical space. My kids had online classes at home. I had to stay with them and take care of them. Hence, I did not have much time for myself.
Less social activity	Online social network; Lack of social places	There are not too many social activities. Now we are accustomed to online social forums. I feel the relationship between people has gradually become alienated. I really do not know any places to make new friends.
Lifestyle changes	Attitude of lives; Prefer staying at home	During the time the cinemas were shut, I watched films at home. I also bought a projector online; I enjoyed it, and now I do not want to visit the cinema. I bought almost all the stuff online. I am used to it. Once, when I was at the shopping mall, I felt inhibited, especially when the salesperson came towards me.
Systemic pressure	Control measure; Public opinion	I do not like going out since there are still some places that request the nucleic test results or health code. I decided to stay at home due to public opinions, which I thought might be right.
Fear	Fear of infection; Changed behaviours	I really like taking part in social events but also feel worried about contracting the virus. For example, I panic if someone gets close to me. I do not have much fear of getting the infection, but I am frightened about touching the surfaces of objects; I cannot stop washing my hands.

5.2. Becoming expressive

5.2.1. Theatre games

Theatre games, including games and other theatre improvisation exercises to make individuals physically warm up, also build playful and trusting surroundings during participation. Physical warm-ups were used to get the participants on their feet and engage in activities that made their bodies and voices more expressive. Warm-ups are a great method for breaking the ice and encouraging participants to begin interacting with each other. Along with this form, different theatre games develop muscular and sensory awareness to step into practice. This experience assists individuals to engage with their bodies through an expressive form of communication.

The first game involved transforming objects, such as, everyday household items. For example, a spoon could be modified into a piano. This game motivated participants to be more creative and imaginative and encouraged them to have fun. The most remarkable example was the conversion of a face mask into other things. For the purpose of relevance, some of the transcripts have been shortened.

Participant Yong put the face mask on his eyes and said, “I am going to bed now. With this patch, I can sleep well and have sweet dreams”.

Zoey held the face mask up and took the lanyards saying, “Ready to land, three, two, one, jump! Yes, it is a parachute”.

Participant Lydia folded the mask and put a lipstick in it and said, “Have a look; this is a new handbag I just bought. Is it funky?”

As participants presented how the objects were transformed, they created stories about the objects with a performance. In the process of presenting the objects, they demonstrated the process of learning theatre skills. This process involved consciousness, feelings, emotions, actions and thinking about objects, which enabled participants to be creative. From the reflections presented by the participants on the objects, visual communication was established and bodily expressions were developed.

5.2.1. Image theatre

In Image Theatre (Boal, 2013), the participants worked in pairs, utilising the body to sculpt their partner into an image that expressed how they felt without words. Subsequently, ideal and transitional images were sculpted. After one sculpture was completed, the other participants had the chance to view it in an art gallery. Participants learnt to make the images as clear as possible and effectively communicate nonverbally with others. In addition, they were allowed to change the images to new ones to resolve the problem. Consequently, it promoted discussions and encouraged the participants to compromise when dealing with issues. During this process, a method to carry out change and revolution was demonstrated.

Various themes were presented in the creation of images. Social withdrawal was the dominant theme. Nicole described that she was unwilling to participate in social activities and worried about exploring the outside world. The below figure shows the images depicting Nicole’s experiences. The first image represents the current situation, the second describes the transition and the last expresses the ideal situation.

These theatre activities instilled trust and confidence in the participants. They were encouraged to transform their reality into images, play with them and eventually transform them into reality. In addition, image theatre promotes the body as an alternative expression that allows the senses and actions to develop ideas.

5.3. Encouraging help

The Rainbow of Desire (Boal, 2013) is a theatre technique in which participants create seven images to clarify and reflect on their desires. It is intended to assist individuals in dealing with oppression due to personal issues and conflicts with family, the environment and internal struggles with emptiness and depression. The technique primarily involves episodes of conflict between the protagonist and the oppressor who may be a parent, partner or the environment. This is a sound approach to reveal oppression and provide an alternative solution.

During this process, the participants were performing a sketch. They played different roles based on the protagonist’s story. Consider the story of Sarah as an example. Sarah is a 21-year-old girl, who stayed at home with her mother during the quarantine.

Mother: You finally got into university, but you still stayed at home to attend online classes. I wish you could go to the campus.

Sarah:Why? Are you not happy to see me every day?

Mother: Sleeping and playing video games. What else are you doing in your life?

Sarah: Fine. I am going out now.

Mother: Where did you go?

Sarah: I went for boxing.

Mother: Boxing? That is such a dangerous sport for girls to practice!

Sarah: I am planning to travel abroad.

Mother: Are you crazy? Have you seen the news? Many such cases have been reported in other countries. This is a severe pandemic. Staying at home is the safest option.

Sarah: Mom, it’s 11 o’clock. Why haven’t you slept yet? Were you waiting for me?

Mother: Do you still know how to come home to sleep?

Sarah: I just went out with friends; I am a grown-up. Why do you still worry about me?

Mother: You will always be a child in your mother’s eyes.

Mother: Baby, look at me… which dress suits me better?

Sarah: Definitely the orange one!

Mother: Isn’t it too much? The colour?

Sarah: No. That is your colour!

Sarah: I am going to university tomorrow morning. The campus is opening.

Mother: Tomorrow? Why did not you tell me earlier?

Sarah: I just bought the flight ticket.

Mother: But I am not ready for you to leave.

Sarah: Mom, you made dumplings in the morning? What time did you wake up?

Mother: Five o’clock.

Sarah: You didn’t have to.

Mother: I would like to see my daughter eat her favourite food before the trip.

After the rehearsal, Sarah commented:

That was my mother and me. My mother is a very traditional-minded and conservative person and usually interferes with some of my decisions. I experienced a rebellious period when I was having regular conflicts with her. I always opposed what she said… whether it was good or bad. We have discussed this extensively during the quarantine. However, when I had to attend university, I was unwilling to leave her. She relied on and loved me. I realised and understood many things about our relationship during my performance.

The rehearsal process assisted participants in the dramatic presentation of emotions and issues related to their relationships. In this process, they were asked to provide a solution to resolve others’ issue through which they became more involved in the workshop by providing suggestions and creating change. During the process, individuals could experience a sense of catharsis and express their tensions and extreme emotions to obtain self-enjoyment. At the end of the process, there was a discussion about the most applicable solution by which the participants could adopt these behaviours and apply them in real life. Additionally, the process of developing critical thinking and communication skills in the workshop tended to bring about new ideas and changes.

5.4. Sense of connectedness

Participants discussed their experiences during the theatre workshop. Five main themes emerged from the analysis of data relating to sense of connectedness. These are: (1) from the unfamiliar to the familiar, (2) feeling good after meeting people, (3) becoming confident, (4) easier to share feelings with people who do not know them, and (5) safe places to play and relax. Table 5 summarises the themes, subthemes and supporting quotes from the participants.

Table 5. Themes, sub-themes and supporting quotes related to connection

Themes	Sub-themes	Illustrative Quotes
From the unfamiliar to the familiar	Interaction; Change of relationship	I think there is a very magical point. When I first came in, I saw everyone, and then I felt that it was an unfamiliar situation. I didn’t know what to say or express. However, after a few interactions with the others, I feel that everyone seems to become familiar with each other, and then I was keen to express in front of them. This is a very important change. I was a little worried about how to speak to people I didn’t know. However, I was guided very well, and the theatre made me active and brought us all together.
Feeling good after meeting people	Someone can share the story; Learn something from others	I am a full-time mother since two years, and most of my time is occupied in taking care of my children. Sometimes, I feel pressure when I think about how I don’t really have my own life. It is so good to know so many people and share my story with them. Everyone is amazing. I have learnt a lot from them. During the quarantine, I stayed with my mom, and we always had different opinions. We argued a lot. I just understood her when I heard a mother’s story in the session. It helped me.
Becoming confident	Find one’s worth; Improved ability to express oneself	For a very long time, I could not seem to find anything good in me. But today I helped people to solve a problem in the acting process. I felt as though I started to like myself again. I think I can express myself better after this workshop as I have practised a lot during this time.
Easier to share feelings with people who do not know you	Few concerns; Good listeners	We come here, and then everyone shares this trait in our own body, and we open our hearts like this; it is easy since we are strangers on the whole. There are some things that we may not be able to share with our friends or family members. Although there are many colleagues at work, everyone is busy with work tasks, so there is no way to really communicate or have fun with them. It’s great to get a bunch of people of different ages and backgrounds to be together. Thanks for being such good listeners.
Safe place to play and relax	Dramatic setting; No judgements	I suddenly met this group of interesting people, and then I played this game with everyone. It makes me feel so happy. It is really easier to express myself here since no one judged me. It was the first time I performed in front of so many people. I played like a child, but I didn’t feel silly because everyone was doing this. It took me back to my childhood. I feel free.

(1) From the unfamiliar to the familiar. It was easier for individuals to become familiar with the theatre settings. For example, participants were engaged when they collaborated on the same task; (2) They felt good after meeting people. Activities had a particularly positive effect on social attainment. The awareness towards social connections has been discussed. (3) Becoming confident. According to the process of the theatre workshop, it is indicated that participants gained the capability of expression and showed greater confidence; (4) Easier to share feelings with people that do not know me. It is assumed that when participants were confronted with new people, they were able to develop a more analytical view with few concerns; (5) Safe place to play and relax. Participants were actively involved in the theatre practice. There was a substantial improvement in performances from shyness to laughter. This process supported self-improvement along with probable advantages in community development.

6. Discussion

Findings indicate that theatres have a considerable effect on the recovery process of social connectedness. The obtained results were categorised under four headings to identify the issue: becoming expressive, encouraging help, becoming confident and a sense of connectedness, which can contribute to positive change for people after social distancing. Focus subjects for identifying the issue comprised themes, such as economic instability, online education, less social activity, lifestyle changes, systemic pressure and fear. The core elements of community-based theatre include the following: from the unfamiliar to the familiar, feeling good after meeting people, becoming confident, easier to share feelings with unknown people and safe places to play and relax. Qualitative reports indicated the process of enhanced self-esteem, interpersonal relationships, a sense of connection and integration. In addition, the findings suggest that this experience helped promote creativity, confidence and critical understanding.

Theatre techniques developed by Boal are highly effective in the community-based theatre field (Cohen-Cruz, 2012; Diamond, 2007). In the theatre workshop, participants practiced the Image Theatre and Rainbow of Desire, which explored issues of pressure and related interpersonal relationships. Consequently, they learnt about personal expressions related to body image, how to use the body as vocabulary and to develop a richer understanding of community-based theatrical creation. Boal’s theatre practice constantly has unexpected events and open endings due to the variable test and effect size. In the present study, community-based theatre encouraged innovative strategies to raise awareness about oppressors (e.g., systemic oppressors and public voices) for individuals and to empower them to take action. The results suggest that community-based theatre encourages participants to reflect on and trigger action to fight oppression.

However, the perspective of the area is the main focus when constructing the theories in this study. For example, multidisciplinary sources that connect and integrate theatrical practices and pedagogy have been examined. The term community-based theatre encompasses the broad spectrum of theatrical aesthetics and impacts within the process of theatre education and articulates a course of possible improvement for individuals, groups and society in need of changes or dealing with issues. Therefore, it is not expected to represent actions but dramatic subjects that could connect theatre and society through acting, receiving, stage language and aesthetic elements. The results will be beneficial for understanding the complexities and possibilities of developing a field vision in theatrical form during the pandemic.

As a specific subject, community-based theatre as critical pedagogy has substantially contributed to the fields of personal and social development. Thompson and Schechner (2004) explored community-based theatres as a way to approach and experience personal and social realities. Moreover, Faigin and Stein (2010) found that community-based theatres offered unique opportunities for personal growth, social connections and advocacy efforts. The theatre workshop in the current study facilitated potential improvements in self and social connections, particularly in the post-pandemic period. While the workshop participants collaborated, they may have experienced growth in their identities as creative individuals and learned how to help one another. Thus, theatre provides the opportunity to play a valued social role in assisting others, which helps develop a sense of belonging and connection. Through this theatrical form, participants are stimulated and provoked to start coping with challenges and devise ways of solving them. It provides emotional safety and a variety of options for all participants and can, therefore, serve as an effective approach for enhancing social connectedness recovery in the post-pandemic era.

This process recreates the complexities of life to understand personal feelings and behaviours and improve relationships and interactions in the social sphere. Exploring, interacting and discovering meaning is growing in life, and problems and trauma make life more dramatic. It is possible to establish links between life, theatre and social change, which allow individuals to develop their self-perceptions and views through the process of natural and active theatre practice. During the theatre session, participants could use dramatic activities to practice how to alter role patterns and modify the way of acting to improve their capacity to play real-life roles and bridge the link between personal life and public and social life. Nonetheless, as this was a test case, the sample size was fairly small. Additional evidence is required to better comprehend the research outcomes and procedures.

7. Conclusion

Examining the issues and impacts of the pandemic that have been highlighted such as changed lifestyles has resulted in reduced social connections through the COVID-19 experience. The need to rebuild social connections, whether around value or culture, is suggested not only for individuals but also for society. It also reveals the need for approaches that help people change their attitudes and reconnect. This challenges structural conditions, the oppressed and individuals. Transformation must address oppressors and foster innovative alternatives. Although it embraces uncertainty, diverse solutions allow social connectedness to transform towards more equitable development.

Critical pedagogy on the need to facilitate social change to navigate and prepare for development requirements integrating theatre-based pedagogy offers the potential to provide a safe space for self-discovery, expression and critical understanding. Participants dedicated themselves to identity issues, suggested solutions and took action. Community-based theatre combined with the fields of arts, critical sociology and social studies allows individuals to not only learn theatre skills but also deal with problems in real life. The theatre activities in the workshop program profit participants in dealing with personal issues and generating positive conciseness and attitude to enhance the quality of life during the pandemic and post-pandemic periods.

The components of community-based theatrical activities outlined in this article offer exciting prospects for social connectedness. In community action contexts, collaboration between citizens, stakeholders and theatre practitioners can harness the theatre’s potential to promote both personal development and social transformation. Therefore, this study contributes to the theoretical, practical and experiential development of critical pedagogy by providing support for individuals, groups and society. Further studies should focus on vulnerable populations to increase social justice and improve individuals’ well-being. This will strengthen the knowledge and resources of community-based theatres and support the continuous challenges faced in the post-pandemic era.

Disclosure statement

No potential conflict of interest was reported by the authors.

Additional information

Notes on contributors

Lulu Jiang

Lulu Jiang is an experienced theatre director working in experimental theatre and community theatre. She is a Ph.D. candidate in the field of Acting and Directing at University of Malaya. She graduated in Film, Television and Creative Practice (MA) from University of East Anglia in the UK.

Farideh Alizadeh

Dr. Farideh Alizadeh: Experienced Senior Lecturer with a demonstrated history of working in the Eclectic Theater, Neo-Traditional Drama, and multidisciplinary between Art & science. Analytical Skills in Performing Arts, Lecturing in English and Persian. Strong education professional with a Doctor of Philosophy (Ph.D.) focused on Art Theory from the University of Malaya.