Going the distance: trauma, social rupture, and the work of repair (2005) pp 171-183 By Ellen w. Kaplan

It is imperative to understand communication experience distance this has a connection to the character that the actor is playing they do this by living inside the story and stepping outside of one self. Therefore this undermines peoples viewpoints and makes a vehicle and social change through thought using stories that heeled people and helped them grow having a feeling of living in someone else’s skin through the character of one self in regard to personal stories and this creates and empathy and distance because of living inside the story because you step out of one self. When engage this engagement is needed as this gives control over traumatic memory’s and for insight you experience a reaction which gain control over traumatic memory’s which in return rewrites the plot and at the same time honors other positions without disorient which gives good tools to use within engagement and growth but there is a need for critical distance between the actor.
Witness testimony from truth and commission hearings, what does it mean to retell a story? What does it say? What right does an actor have to retell the story? What is the distance part? Also what weight does live experience have? Does it have one type of knowledge When doing workshops rumor or soldiers and kidnapping also sadly been killed and the identify to soldiers that become dealt and productive distance was not easy to achieve, during workshops teenagers started to talk and communicated to each other and shared fears and hopes and talking about this war but they were energized by the work it helped break the epic line because before there was no conversation when the teenagers were on the break from the workshop within the workshop the stories expressed different powers for example group identity they did this by using trust exercises and they used slow and soft ones using laughter to cover discomfort.
Within the different groups they identified age, gender, disability, religion, power also power identity’s was exploited horizontal shared power which created control but this is not easy as what I think when I see you or what is true about me and what message have I gave? Name calling because of your religion or ethnicity can say you may have power or no power stereo typing and power is used as well as practical realization and imagined voice compassionate listening through expressing own stories within role reversal you are commented to hear uncensored story, there two groups one of which are Jewish and the other group is Arab boys.
Within the workshop the two groups of boys worked in pairs one of the boys said from one group said “I admire you.” and the other group replied “I will change something about myself.” “Without listening to the enemy I could not make informed decisions”, when the scripted seen there is no passion or power involved within the characteristic Arab’s and Jews teenagers created together original plays and performed it in public schools when using distance it helps the actor remember what was left out for example whether the character was supposed be showing humor through there acting.
Kaplan explores how with the use of power challenges how people are socially accepted whether it be through religion or status etc. I would like to express how being a disabled person makes you socially different in the same way that Kaplan expressed with the two boys that are socially different but by using power and performance through acting you can change this perception and put this in another light. I wanted to reflect how disabled people should be socially accepted and I believed this fit in with my work.
Ellen w. Kaplan: Going the distance: trauma, social rupture, and the work of repair (2005) pp 171-183


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